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

By Charlie Keil, Ben Singer

It used to be throughout the youth that filmmaking really 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 outfitted to draw the broadest attainable viewers. Stars like Mary Pickford, Charlie Chaplin, and Douglas Fairbanks grew to become very important and firms started writing high-profile contracts to safe them. With the outbreak of global conflict I, the political, monetary, and business foundation was once laid for American cinema's international dominance. via the top of the last decade, filmmaking had develop into a real undefined, entire with vertical integration, effective specialization and standardization of practices, and self-regulatory businesses.
Some of the movies mentioned during this quantity are: The Lonedale Operator, site visitors in Souls, The Perils of Pauline, The beginning of a state, The Cheat, Intolerance, and female and male.

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Health magazine fretted over “eye strain,” “unsanitary conditions,” “foul air,” as well as “another aspect . . 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).

They were not actually expensive if they enabled outlay and income to be properly attuned. Losing money through inaccurate calibration was much more damaging to the bottom line. Given their utility along these lines, one can better understand why producers were willing to acquiesce to astronomical pay demands by the most consistent performers. 24 BEN SINGER AND CHARLIE KEIL ■■■■■■■■■■ Some Reflections on Reflectionism Scholars often take it for granted that films reflect the times in which they were made.

Easily the most prominent subgenre of westerns this year, however, remained films about Indians, as it had been for the past two years. At least ten Indian westerns were released each month. For several reasons, especially the landscape of the East Coast where most Indian films were shot, they drew more from James Fenimore Cooper’s novels of sociable natives than from the post–Civil War plains battles that became the model for a half-century from 1911 onward (Simmon, Invention 12–54). Several companies had a sideline in Indian westerns, including Selig, Lubin, and Biograph, and among the most fascinating are those directed for Pathé by James Young Deer, of Winnebago ancestry.

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