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

By Charlie Keil, Ben Singer

It used to be in the course of the youth 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 fast advancements of the last decade that begun with D. W. Griffith s unmatched one-reelers. through mid-decade, multi-reel characteristic motion pictures 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 extremely important and firms started writing high-profile contracts to safe them. With the outbreak of worldwide conflict I, the political, fiscal, and commercial basis was once laid for American cinema's worldwide 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 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 kingdom, The Cheat, Intolerance, and female and male.

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S. Bureau of the Census, “Thirteenth” 21, 54–55, 93–94, 98; Cashman, Ascendant 90, 67; Schlereth 55). Rapid communication and transportation were still available only to a few. Eighty-five percent of homes lacked electricity; there was one telephone for every ninety people; less than 5 percent of eighteen- to twentyone-year-olds went on to college (Schlereth 115; Cooper 136–37). The number of automobiles had grown to almost half a million (from fewer than ten thousand at the turn of the century), but that meant just one for every two hundred people (Cooper 133).

S. suffrage marches and a petition to Congress signed by 400,000 asking for an equal voting-rights amendment to the constitution (Flexner and Fitzpatrick 242–48). Economically, it was a prosperous time, following the recession of 1907–08. 5 million members (Cooper 145). “Reform”—of cities, business practices, and the excesses of wealth—was in the air, even if few agreed on what it meant. President William Howard Taft, who had taken office the year previous, was more of an activist trustbuster than his predecessor, Theodore Roosevelt, but lacked the former president’s charisma, 28 SCOTT SIMMON notwithstanding his 350 pounds.

Stars were recognized as the most important signal of a film’s presumed “bigness” and quality, and hence tied directly to the high-volume consumption. Leading producers were particularly keen to make films capable of capturing income from major first-class, first-run theaters. Since such theaters had the highest ticket prices, greatest box office volume, and an ability to assume the highest possible rental charge, the first run was by far the most lucrative (relative to number of screenings), accounting for one-quarter of a film’s gross income.

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