Early American Cinema In Transition
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| Author | : Charlie Keil |
| Publisher | : University of Wisconsin Pres |
| Total Pages | : 321 |
| Release | : 2001-12-10 |
| Genre | : Performing Arts |
| ISBN | : 0299173631 |
The period 1907–1913 marks a crucial transitional moment in American cinema. As moving picture shows changed from mere novelty to an increasingly popular entertainment, fledgling studios responded with longer running times and more complex storytelling. A growing trade press and changing production procedures also influenced filmmaking. In Early American Cinema in Transition, Charlie Keil looks at a broad cross-section of fiction films to examine the formal changes in cinema of this period and the ways that filmmakers developed narrative techniques to suit the fifteen-minute, one-reel format. Keil outlines the kinds of narratives that proved most suitable for a single reel’s duration, the particular demands that time and space exerted on this early form of film narration, and the ways filmmakers employed the unique features of a primarily visual medium to craft stories that would appeal to an audience numbering in the millions. He underscores his analysis with a detailed look at six films: The Boy Detective; The Forgotten Watch; Rose O’Salem-Town; Cupid’s Monkey Wrench; Belle Boyd, A Confederate Spy; and Suspense.
| Author | : Charlie Keil |
| Publisher | : Univ of California Press |
| Total Pages | : 392 |
| Release | : 2004-07-12 |
| Genre | : Business & Economics |
| ISBN | : 9780520240278 |
This 'transitional era' covered the years 1908-1917 & witnessed profound changes in the structure of the motion picture industry in the US, involving film genre, film form, filmmaking practices & the emergence of the studio system. The pattern which emerged dominated the industry for decades to come.
| Author | : Charlie Keil |
| Publisher | : Univ of Wisconsin Press |
| Total Pages | : 324 |
| Release | : 2001-12-03 |
| Genre | : Business & Economics |
| ISBN | : 9780299173647 |
The period 1907–1913 marks a crucial transitional moment in American cinema. As moving picture shows changed from mere novelty to an increasingly popular entertainment, fledgling studios responded with longer running times and more complex storytelling. A growing trade press and changing production procedures also influenced filmmaking. In Early American Cinema in Transition, Charlie Keil looks at a broad cross-section of fiction films to examine the formal changes in cinema of this period and the ways that filmmakers developed narrative techniques to suit the fifteen-minute, one-reel format. Keil outlines the kinds of narratives that proved most suitable for a single reel’s duration, the particular demands that time and space exerted on this early form of film narration, and the ways filmmakers employed the unique features of a primarily visual medium to craft stories that would appeal to an audience numbering in the millions. He underscores his analysis with a detailed look at six films: The Boy Detective; The Forgotten Watch; Rose O’Salem-Town; Cupid’s Monkey Wrench; Belle Boyd, A Confederate Spy; and Suspense.
| Author | : Donald Crafton |
| Publisher | : Univ of California Press |
| Total Pages | : 656 |
| Release | : 1999-11-22 |
| Genre | : Business & Economics |
| ISBN | : 9780520221284 |
This text offers readers a look at the time when sound was a vexing challenge for filmmakers and the source of contentious debate for audiences and critics. The author presents a view of the talkies' reception, amongst other issues.
| Author | : Charlie Keil |
| Publisher | : Rutgers University Press |
| Total Pages | : 298 |
| Release | : 2009 |
| Genre | : Art |
| ISBN | : 0813544459 |
It was during the teens that filmmaking truly came into its own. Notably, the migration of studios to the West Coast established a connection between moviemaking and the exoticism of Hollywood. The essays in American Cinema of the 1910s explore the rapid developments of the decade that began with D. W. Griffith's unrivaled one-reelers. By mid-decade, multi-reel feature films were profoundly reshaping the industry and deluxe theaters were built to attract the broadest possible audience. Stars like Mary Pickford, Charlie Chaplin, and Douglas Fairbanks became vitally important and companies began writing high-profile contracts to secure them. With the outbreak of World War I, the political, economic, and industrial groundwork was laid for American cinema's global dominance. By the end of the decade, filmmaking had become a true industry, complete with vertical integration, efficient specialization and standardization of practices, and self-regulatory agencies.
| Author | : Nanna Verhoeff |
| Publisher | : Amsterdam University Press |
| Total Pages | : 463 |
| Release | : 2006-01-01 |
| Genre | : Performing Arts |
| ISBN | : 905356831X |
Verhoeff investigates the emergence of the western genre, made in the first two decades of cinema (1895-1915). By analyzing many unknown and forgotten films from international archives she traces the relationships between films about the American West, their surrounding films, and other popular media such as photography, painting, (pulp) literature, Wild West Shows and popular ethnography. Through this exploration of archival material she raises new questions of historiography and provides a model for historical analysis. These first traces of the Western film reveal a preoccupation with presence and actuality that informs us about the way in which film, as new medium, took shape within the context of its contemporary visual culture. In The West in Early Cinema gaat Nanna Verhoeff op zoek naar de nog onbekende beginjaren van het westerngenre tijdens de eerste twee decennia van het medium film 1895-1915). Aan de hand van onbekende en vergeten films uit internationale filmarchieven traceert zij de relaties tussen films over het Westen, omringende filmgenres uit deze periode, en andere populaire media als fotografie, schilderkunst, (pulp)literatuur, Wild West Shows en populaire etnografie. Deze sporen van het genre tonen een grote actualiteit en variatie, die laat zien op welke manier de film als nieuw medium een vorm vond binnen de toenmalige visuele cultuur.
| Author | : Janet Staiger |
| Publisher | : U of Minnesota Press |
| Total Pages | : 250 |
| Release | : 1995 |
| Genre | : Cinema |
| ISBN | : 9781452902678 |
On female sexual morality
| Author | : Ryan Jay Friedman |
| Publisher | : Rutgers University Press |
| Total Pages | : 265 |
| Release | : 2011 |
| Genre | : Performing Arts |
| ISBN | : 0813550483 |
In 1929 and 1930, during the Hollywood studios' conversion to synchronized-sound film production, white-controlled trade magazines and African American newspapers celebrated a "vogue" for "Negro films." "Hollywood's African American Films" argues that the movie business turned to black musical performance to both resolve technological and aesthetic problems introduced by the medium of "talking pictures" and, at the same time, to appeal to the white "Broadway" audience that patronized their most lucrative first-run theaters. Capitalizing on highbrow associations with white "slumming" in African American cabarets and on the cultural linkage between popular black musical styles and "natural" acoustics, studios produced a series of African American-cast and white-cast films featuring African American sequences. Ryan Jay Friedman asserts that these transitional films reflect contradictions within prevailing racial ideologies--arising most clearly in the movies' treatment of African American characters' decisions to migrate. Regardless of how the films represent these choices, they all prompt elaborate visual and narrative structures of containment that tend to highlight rather than suppress historical tensions surrounding African American social mobility, Jim Crow codes, and white exploitation of black labor.
| Author | : Alexander Horwath |
| Publisher | : Amsterdam University Press |
| Total Pages | : 395 |
| Release | : 2004 |
| Genre | : Performing Arts |
| ISBN | : 9053566317 |
This publication is a major evaluation of the 1970s American cinema, including cult film directors such as Bogdanovich Altman and Peckinpah.
| Author | : Lucy Fischer |
| Publisher | : Rutgers University Press |
| Total Pages | : 310 |
| Release | : 2009-04-15 |
| Genre | : Performing Arts |
| ISBN | : 0813547156 |
During the 1920s, sound revolutionized the motion picture industry and cinema continued as one of the most significant and popular forms of mass entertainment in the world. Film studios were transformed into major corporations, hiring a host of craftsmen and technicians including cinematographers, editors, screenwriters, and set designers. The birth of the star system supported the meteoric rise and celebrity status of actors including Charlie Chaplin, Mary Pickford, Joan Crawford, Greta Garbo, and Rudolph Valentino while black performers (relegated to "race films") appeared infrequently in mainstream movies. The classic Hollywood film style was perfected and significant film genres were established: the melodrama, western, historical epic, and romantic comedy, along with slapstick, science fiction, and fantasy. In ten original essays, American Cinema of the 1920s examines the film industry's continued growth and prosperity while focusing on important themes of the era.
