By Charlie Keil, Ben Singer
It was once throughout the kids that filmmaking actually got here into its personal. Studios migrated to the West Coast, constructing 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 begun with D. W. Griffith s unequalled one-reelers. by means of mid-decade, multi-reel function motion pictures 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 grew to become extremely important and corporations begun writing high-profile contracts to safe them. With the outbreak of worldwide struggle I, the political, monetary, and business basis was once laid for American cinema's international dominance. by means of the tip of the last decade, filmmaking had develop into a real undefined, entire with vertical integration, effective specialization and standardization of practices, and self-regulatory corporations.
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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Extra info for American Cinema of the 1910s: Themes and Variations (The Screen Decades Series)
That is, movie patrons—“these same young persons”—could “stroll through the lobbies of half a dozen Los Angeles hotels” and “encounter the majority of the characters they have admired upon the screen” (“New Hero”). As another February Los Angeles Times article noted about location shooting, “The participants have been handicapped by the number of spectators. That is one of the things most dreaded by the picture actors” (“In the Motion”). Movie fan culture had evidently arrived. A. dateline of such news items seems unremarkable now, but that winter of 1909–10 was the ﬁrst time major ﬁlmmaking companies put down roots on the West Coast.
Grifﬁth. This is the ﬁrst of the four American ﬁlm adaptations of Helen Hunt Jackson’s 1884 best seller, written to protest the near-genocidal wrongs against California’s Native Americans. As an unusual credit title suggests, the ﬁlm was also among the ﬁrst authorized book adaptations, apparently costing the Biograph Company $100 for the rights and helping to make it “the most expensive picture put out by any manufacturer up to that time,” at least according to Grifﬁth’s wife (Arvidson 169). Set mainly in the late 1840s, just after Mexico’s defeat by the United States but before California statehood, Jackson’s story—which the ﬁlm follows closely in outline—centers on the star-crossed love of Alessandro, a mission Indian, and Ramona, from an aristocratic Mexican family.
The ﬁlm toys with suspense—through staging and cutting—ﬁrst over whether 1910 — MOVIES, REFORM, AND NEW WOMEN 35 Quinn will see the young woman and, after he does, whether he will remember who she is. Quinn ﬁnally does puzzle out the mystery and runs back to make the arrest. But her pleas, or perhaps just the country atmosphere, make him hesitate, and when the farmer walks up, Quinn pretends to search for something lost in the grass to explain his return. He strolls back to the river with a smile.
American Cinema of the 1910s: Themes and Variations (The Screen Decades Series) by Charlie Keil, Ben Singer