Download American Cinema of the 1910s: Themes and Variations (The by Charlie Keil, Ben Singer PDF

By Charlie Keil, Ben Singer

It was once through the youngsters that filmmaking actually got here into its personal. Studios migrated to the West Coast, setting up a connection among moviemaking and the exoticism of Hollywood. The essays in American Cinema of the 1910s discover the speedy advancements of the last decade that started with D. W. Griffith s unmatched one-reelers. through mid-decade, multi-reel function movies have been profoundly reshaping the and deluxe theaters have been equipped to draw the broadest attainable viewers. Stars like Mary Pickford, Charlie Chaplin, and Douglas Fairbanks grew to become very important and firms begun writing high-profile contracts to safe them. With the outbreak of worldwide battle I, the political, monetary, and business basis was once laid for American cinema's worldwide dominance. through 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 corporations.
Some of the flicks mentioned during this quantity are: The Lonedale Operator, site visitors in Souls, The Perils of Pauline, The delivery of a country, The Cheat, Intolerance, and female and male.

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Extra info for American Cinema of the 1910s: Themes and Variations (The Screen Decades Series)

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Several new publications emerged that devoted themselves to stories about stars, typically adorned with full-page photos. Journals such as Motion Picture Story Magazine and Photoplay existed chiefly to provide the public with a never-ending stream of copy about the stars whom filmgoers had come to adore. Popularity contests were held to determine which stars commanded the largest fan base, and as the industry structure shifted to 16 BEN SINGER AND CHARLIE KEIL privilege the presence of particular stars in feature films, the salaries of the most popular stars rocketed upward to reflect their market value.

These elements of iconography are the raw materials for constructing stories and only inadvertently chronicle the cultural milieu. Finally, films often reflect their times in deliberate but indirect ways that normally fall even further below the threshold of spectator awareness. A case in point would be a kind of negative reflectionism underlying what kinds of films are not produced at a given historical juncture. One might assume that World War I primarily shaped American cinema through forces of propaganda (motivating depictions of Hun atrocities) or through moderately topical reportage (motivating representations of the experiences of doughboys or of the folks back home).

More to the point, they still were simply too small to sell enough tickets to turn a profit after paying out the cost of feature programming. A great many theaters of fewer than 600 seats went out of business in the mid-1910s. Feature films and picture palaces were mutually enabling and dependent, bound together like the two strands of a double helix. One could not exist without the other: high-volume, high-price exhibition norms gave producers the revenue necessary for making expensive, attractive features with major stars; expensive, attractive features with major stars were necessary to fill large theaters and merit higher ticket prices.

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