By Charlie Keil, Ben Singer
It used to be through the children that filmmaking actually got here into its personal. Studios migrated to the West Coast, developing a connection among moviemaking and the exoticism of Hollywood. The essays in American Cinema of the 1910s discover the quick advancements of the last decade that started with D. W. Griffith s unmatched one-reelers. via mid-decade, multi-reel characteristic movies have been profoundly reshaping the and deluxe theaters have been outfitted to draw the broadest attainable viewers. Stars like Mary Pickford, Charlie Chaplin, and Douglas Fairbanks turned very important and corporations begun writing high-profile contracts to safe them. With the outbreak of worldwide battle I, the political, financial, and commercial basis used to be laid for American cinema's international dominance. by way of the tip of the last decade, filmmaking had develop into a real undefined, whole with vertical integration, effective specialization and standardization of practices, and self-regulatory enterprises.
Some of the movies mentioned during this quantity are: The Lonedale Operator, site visitors in Souls, The Perils of Pauline, The beginning of a country, The Cheat, Intolerance, and female and male.
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Additional info for American Cinema of the 1910s: Themes and Variations (The Screen Decades Series)
Which we hesitate to discuss. . The performances being of necessity given in a darkened house, opportunity for undue familiarity between the sexes is afforded” (“Moving Pictures”). Few others hesitated to dwell on the opportunities dark theaters afforded for fraternizing between the sexes. The key technical fact about American movies in the immediate prefeature era—central to both moviegoing this year and to the sense one can feel today of these ﬁlms’ desperate narrative compression—is that virtually all ﬁlms were standardized at “one reel” in length (that is, from about 700 feet to a maximum of 1,050 feet of 35 mm ﬁlm).
In less than a year, she had made sixty ﬁlms. Ramona is a tragedy, compressing several years into its quarter-hour running time, as Ramona and Alessandro (played by Henry B. Walthall) are pushed ever higher into the wilderness by white men who claim their land. The burial of their infant receives a spectacular mountain backdrop unlike anything in previous westerns, but the shots that prompted most praise occur earlier, when Alessandro watches his tribal village burn, ﬁlmed with extreme depth of ﬁeld.
The same month, Judge Frederick B. House made a sweeping indictment: “Ninety-ﬁve percent of the moving picture houses in New York are dens of iniquity. More young women and girls are led astray in these places than in any other way” (“Unwarranted”). While commentators feared the inﬂuence of moviegoing on young women, a few pointed out how women might be inﬂuencing motion pictures. As Bertha Richardson suggested in her revision of The Woman Who Spends: A Study of Her Economic Function, women were a growing force in “the economics of consumption, otherwise known as the spending of their money” (21).
American Cinema of the 1910s: Themes and Variations (The Screen Decades Series) by Charlie Keil, Ben Singer