DOCSLIB.ORG

Europäische Filmemigration in Die USA Vor 1920 2001

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Europäische Filmemigration in Die USA Vor 1920 2001 Repositorium für die Medienwissenschaft Hanns-Georg Rodek Europäische Filmemigration in die USA vor 1920 2001 https://doi.org/10.25969/mediarep/15965 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Rodek, Hanns-Georg: Europäische Filmemigration in die USA vor 1920. In: Frank Kessler, Sabine Lenk, Martin Loiperdinger (Hg.): Europäer in den USA. Frankfurt am Main: Stroemfeld/Roter Stern 2001 (KINtop. Jahrbuch zur Erforschung des frühen Films 10), S. 151–191. DOI: https://doi.org/10.25969/mediarep/15965. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Weitergabe unter gleichen Bedingungen 4.0/ Attribution - Share Alike 4.0/ License. For more information see: Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz https://creativecommons.org/licenses/by-sa/4.0/ finden Sie hier: https://creativecommons.org/licenses/by-sa/4.0/ HANNS-GEORG RODEK Europäische Filmemigration in die USA vor 1920 Diese Recherche umfaßt nur Personen, die in Europa geboren wurden, in die USA übersiedelten und dort vor 1920 an Filmen mitarbeiteten. Bei der Zusammenstellung der Liste wurde von der Annahme ausgegangen, daß nahezu alle diese Filmschaffenden inzwischen verstorben sind. Deshalb wur­ den r. Nachruf-Indexe aus den Bereichen Schauspiel, Regie, Drehbuch, Kamera etc. nach in Europa Geborenen durchsucht; 2. Europäerinnen und Europäer her­ ausgefiltert, die in den USA verstorben sind; 3. Nachforschungen angestellt, in­ wieweit die US-Filmographien dieser Personen zurückreichen.' Es muß jedoch mit einer beträchtlichen Dunkelziffer gerechnet werden, weil r. der Geburtsort vieler früher Filmschaffender unbekannt ist; 2. eine Reihe von Schauspielern sich im Nachhinein zu gebürtigen Amerikanern stilisierten (wie der in Rumänien geborene Johnny Weissmuller); 3. viele eu­ ropäische Filmschaffende nach einigen Jahren in Amerika auf den alten Kon­ tinent zurückkehrten und somit in den amerikanischen Nachrufen nicht auf­ tauchen; 4. aufgrund mangelhafter Dokumentation früher Filme US-credits von vielen Europäern erst ab 1920 bekannt sind, obwohl sie bereits vorher an amerikanischen Filmen mitgewirkt haben; 5. von vielen im Stummfilm Täti• gen das Todesdatum unbekannt ist. Aus der folgenden Liste lassen sich einige schon recht gut belegte Schluß• folgerungen ziehen: Aufgrund der gemeinsamen Sprache und Geschichte stammt mindestens die Hälfte der Europäer, die im frühen US-Film arbeite­ ten, aus Großbritannien. Die meisten aus England übersiedelten hatten bereits in ihrer Heimat auf der Bühne einen gewissen Bekanntheitsgrad erlangt. Ihr Motiv für den Wech­ sel war nicht wirtschaftliche Not, sondern in der Regel das Streben nach noch größerem Erfolg. Häufig wurden renommierte Londoner Theaterleute in die USA abgeworben, um den dortigen Bühnen Prestige zu verleihen. Dies scheint in den 188oer Jahren begonnen zu haben. Fast ohne Ausnahme erhiel­ ten Engländer Engagements als Schauspieler; erst in der neuen Heimat began­ nen sie, sich für Regie zu interessieren. Frankreich schickte als einziges europäisches Land filmerfahrene Per­ sonen aus den Bereichen Schauspiel, Regie und Kamera nach Amerika. Sie wurden meist von ihren Mutterfirmen Pathe, Gaumont und Eclair entsandt, um deren US-Töchter an der Ostküste zu verstärken. Viele Schauspielerinnen und Schauspieler kehrten wieder zurück, relativ viele Regisseure und Kame­ raleute schafften dagegen den Übergang nach Hollywood. l5I Eine - zumindest zeitweilige - Rückkehr aus Amerika war für Engländer und Franzosen wahrscheinlich. Die anderen Europäer blieben fast alle dauer­ haft in den USA. Aus dem übrigen Europa kamen relativ viele Seiteneinsteiger (aus den Be­ reichen Oper, Tanz, Sport), die sich in Amerika im Film versuchten. Der neue Beruf des Filmproduzenten wurde wesentlich von aus Osteuro­ pa eingewanderten Juden geschaffen. Den Beruf des (Stumm-)Filmkomponisten und Arrangeurs dominierten Zentraleuropäer. Die folgenden Thesen sind noch nicht genügend belegt: Unter den Einwanderern wurden praktisch nur Engländer Stars im frühen US-Kino, obwohl das Sprachproblem im Stummfilm nicht existierte. Aus­ nahmen wie Valentino, Moreno und Nissen bestätigen die Regel. Der Anteil der Nicht-Schauspieler-Berufe bei Ankömmlingen aus Konti­ nentaleuropa war größer als bei denen aus Großbritannien. Mit Beginn des Ersten Weltkriegs stieg der Bedarf nach zentraleuropäi• schen Physiognomien; deshalb stieg die Zahl der von dort stammenden Schauspieler. Das jiddische Theater in New York holte systematisch Schauspieler aus Polen, Rumänien und Rußland, von denen viele auch im Film auftraten. Die Filmdebütanten aus Deutschland, Österreich, Italien und Spanien scheinen zu Hause nicht nur keine Film-, sondern auch wenig Theatererfah­ rung gehabt haben. Ankömmlinge aus Irland und Schottland kamen offenbar seltener von der Bühne als Engländer, die später im Film arbeiteten. Anmerkung 1 Die hauptsächlichen Quellen, die bei 1908 - Dec. 1915, Film-Index, Stockholm der Recherche benutzt wurden, waren die 1976; dies., American Film Index 1916- Nachrufe in der Zeitschrift Variety sowie 1920: Motion Pictures ]anuary 1916 - De­ Evelyn Mack Truitt, Who was Who on cember 1920, Film-Index, Stockholm 1984; Screen, Bowker, New York 1984; David American Film Institute Catalog of Motion Ragan, Who's Who in Hollywood, Facts on Pictures Produced in the United States - F File, New York etc. 1992; John Parker 2: American Feature Films 1911-20, Uni­ (Hg.), Who's Who in the Theatre, Pitman, versity of California Press, Berkeley etc. London 1912 ff.; Billy H. Doyle, The Ulti­ 1988; Jay Robert Nash (Hg.), The Motion mate Directory of the Silent Screen Perfor­ Picture Guide, Baseline, New York etc. mers, Scarecrow, Metuchen, NJ, London 1985 ff.; Raymond Chirat, Catalogi-te des 1995; Paul C. Spehr, The Movies Begin: films franr;ais de fiction 1908 a 1918, Cine­ Making Movies in New Jersey 1887 - 1920, matheque frarn,aise, Paris 1995; außerdem Newark Museum, Newark, NJ 1977; Einar International Movie Data Base, 1990 - Lauritzen, Gunnar Lundquist, American 2001. - URL: http://www.imdb.com. Mein Film Index 1908-191 J: Motion Picturesjuly Dank gilt Geoffrey Donaldson. 152 David Abel Spottiswoode Aitken Rußland (oder Amsterdam) r883 - Edinburgh r868 - Los Angeles r933 Arcadia/Kal. r973 Schauspieler Kameramann Begann mit r 3Jahren auf der Bühne in Shake­ US-Filme: ro9 nachweisbare r9r6-45 speare-Rollen; character actor im Film, u. a. Dr. Cameron in BIRIB OF A NATION. William L. Abingdon US-Filme: 89 nachweisbare r9rr-27 Tewcester (England) r859-New York r9r8 Charles E. »Cap« Anderson Schauspieler Schweden r882 - Los Angeles r956 US-Filme: 4 nachweisbare r9r4-r8 Schauspieler US-Filme: 43 nachweisbare r9r8-46 Ivan Abramson Wilna (Litauen) r869- New York r934 Robert Anderson Filmregisseur, Drehbuchautor Odense (Dänemark) r890 - Woodland Gründer mehrerer jüdischer Publikationen Hills/Kal. r 96 3 in den USA; Opernunternehmer; Gründer Schauspieler der Ivan Film Company, die zeitweise Wil­ US-Filme: 25 nachweisbare r9r7-29 liam Randolph Hearst als Teilhaber hatte; klagte als Unabhängiger erfolglos gegen die Lucien Andriot Marktpraktiken der großen Studios. Paris r892 - Riverside County/Kai. r979 US-Filme: 3I nachweisbare r914-33 Kameramann Besuch der Ecole Centrale in Paris; von Eugene Acker Eclair r9r4 in die USA geholt; dann bei Art­ Stockholm r 88 9 - San Francisco r 97 r craft, Pathe, Fox, MGM und RKO tätig. Schauspieler · US-Filme: r58 nachweisbare r9r4-57 US-Filme: ro nachweisbare r9r 5-23 Bert Angeles Jacob Adler London r875 - New York r950 Odessa r855 -New York r926 Filmregisseur, Schauspieler Schauspieler US-Filme: 2 nachweisbare r9r3/r5 Patriarch des jiddischen Theaters in Ame­ rika; in die USA r887; sein Shylock war so JeanAngelo beeindruckend, daß er ihn am Broadway in Paris r875 - Paris r933 Jiddisch gab, während die anderen auf der Schauspieler Bühne Englisch sprachen; Gründer der Ab r903 in Frankreich auf der Bühne, ab Adler-Schauspielerdynastie; Kinder: Fran­ r908 Held von Abenteuerfilmen; seine Be­ ces, J ay, Julia, Luther, Stella, Celia, Sophia. liebtheit überstand auch den Wechsel zum US-Filme: r nachweisbarer r9r4 Tonfilm; r9r7/r8 kurzzeitig in den USA. US-Filme: r nachweisbarer r9r8 Sidney Ainsworth Manchester r872 -Madison/Wisc. r922 Georges Archainbaud Schauspieler Paris r890- Beverly Hills/Kal. r959 Kam als Kleinkind in die USA; Star bei Filmregisseur Essanay; Filme ab r909. Schauspieler in Paris; für Eclair r9r 5 nach US-Filme: 39 nachweisbare r9r r-22 Fort Lee/N.J.; bald Regie auch für World, Pathe, Selznick, RKO, Paramount, Colum­ bia; inszenierte B-Filme und viele Western; Stiefsohn von Emile Chautard (s.d.). US-Filme: r38 nachweisbare r9r6-58 153 Henry Armetta Carl Axzelle Palermo (Italien) 4. Juli 1888 - San Diego/ Schweden 1881 - Malibu/Kal. 1958 Kai. 1945 Schauspieler italienischer Schauspieler US-Filme: 8 nachweisbare 1917-28 Nach Amerika 1902 mit 14Jahren als blin­ der Schiffspassagier; zunächst Barbier-Hel­ William H. Bainbridge fer im Lambs Club, einem Schauspieler­ England 1853-? [1931] treff, wo ihn Raymond Hitchcock entdeck­ Schauspieler te; blieb drei Jahre bei dessen Company; US-Filme: 25 nachweisbare 1916-24 Spezialität: aufgeregte Südländer mit dickem Akzent. Reginald Barker US-Filme: 144 nachweisbare 1915-45 Rothwell (Schottland) oder Winnipeg (Kanada) 1886 - Los Angeles 1945 Etienne Arnaud Filmregisseur, Schauspieler Frankreich 1879-? [1955]
Load more

Recommended publications
  • The Swedish Film and Post-War American Films 1938
    THE MUSEUM OF MODERN ART 14 WEST 49TH STREET, NEW YORK TEUEPHONE: CIRCLE 7-7470 FOR IMMEDIATE RELEASE Legends to the contrary notwithstanding, the negative of Erich von Stroheim's much-discussed film, Greed, has been preserved in Metro-Goldwyn-Mayer's vaults and it has therefore been possible to include this celebrated "masterpiece of realism" in the Museum of Modern Art Film Libraryfs current Series IV, The Swedish Film and Post-War American Films, Greed will be shown to Museum members on Wednesday, February 23rd, at 8:45 P.M. in the auditorium of the American Museum of Natural History, 77th Street and Central Park West. Thereafter it will be available to students of the film in i colleges and museums throughout the country. Greed, a faithful transcription into pictorial terms of Frank Norris1 novel, "McTeague," was created under unusual circumstances and met with a curious fate. It was not made in a studio, but on location in San Francisco. Whole blocks and houses were purchased as settings , walls knocked out to make the photography of real in­ teriors practicable. Every detail of the novel was reproduced at considerable expense of time and money, with a passionate and un­ compromising care for veracity. Eventually von Stroheim offered his producers his finished work, a final cut print twenty reels long which he proposed they should issue in two parts, and which bore no perceptible trace of those elements usually reckoned as "box office. The film was taken from him, cut down to the present ten reel ver­ sion and so released.
    [Show full text]
  • Best Picture of the Yeari Best. Rice of the Ear
    SUMMER 1984 SUP~LEMENT I WORLD'S GREATEST SELECTION OF THINGS TO SHOW Best picture of the yeari Best. rice of the ear. TERMS OF ENDEARMENT (1983) SHIRLEY MacLAINE, DEBRA WINGER Story of a mother and daughter and their evolving relationship. Winner of 5 Academy Awards! 30B-837650-Beta 30H-837650-VHS .............. $39.95 JUNE CATALOG SPECIAL! Buy any 3 videocassette non-sale titles on the same order with "Terms" and pay ONLY $30 for "Terms". Limit 1 per family. OFFER EXPIRES JUNE 30, 1984. Blackhawk&;, SUMMER 1984 Vol. 374 © 1984 Blackhawk Films, Inc., One Old Eagle Brewery, Davenport, Iowa 52802 Regular Prices good thru June 30, 1984 VIDEOCASSETTE Kew ReleMe WORLDS GREATEST SHE Cl ION Of THINGS TO SHOW TUMBLEWEEDS ( 1925) WILLIAMS. HART William S. Hart came to the movies in 1914 from a long line of theatrical ex­ perience, mostly Shakespearean and while to many he is the strong, silent Western hero of film he is also the peer of John Ford as a major force in shaping and developing this genre we enjoy, the Western. In 1889 in what is to become Oklahoma Territory the Cherokee Strip is just a graz­ ing area owned by Indians and worked day and night be the itinerant cowboys called 'tumbleweeds'. Alas, it is the end of the old West as the homesteaders are moving in . Hart becomes involved with a homesteader's daughter and her evil brother who has a scheme to jump the line as "sooners". The scenes of the gigantic land rush is one of the most noted action sequences in film history.
    [Show full text]
  • Silent Film Music and the Theatre Organ Thomas J. Mathiesen
    Silent Film Music and the Theatre Organ Thomas J. Mathiesen Introduction Until the 1980s, the community of musical scholars in general regarded film music-and especially music for the silent films-as insignificant and uninteresting. Film music, it seemed, was utili­ tarian, commercial, trite, and manipulative. Moreover, because it was film music rather than film music, it could not claim the musical integrity required of artworks worthy of study. If film music in general was denigrated, the theatre organ was regarded in serious musical circles as a particular aberration, not only because of the type of music it was intended to play but also because it represented the exact opposite of the characteristics espoused by the Orgelbewegung of the twentieth century. To make matters worse, many of the grand old motion picture theatres were torn down in the fifties and sixties, their music libraries and theatre organs sold off piecemeal or destroyed. With a few obvious exceptions (such as the installation at Radio City Music Hall in New (c) 1991 Indiana Theory Review 82 Indiana Theory Review Vol. 11 York Cityl), it became increasingly difficult to hear a theatre organ in anything like its original acoustic setting. The theatre organ might have disappeared altogether under the depredations of time and changing taste had it not been for groups of amateurs that restored and maintained some of the instruments in theatres or purchased and installed them in other locations. The American Association of Theatre Organ Enthusiasts (now American Theatre Organ Society [ATOS]) was established on 8 February 1955,2 and by 1962, there were thirteen chapters spread across the country.
    [Show full text]
  • Gjis1 IS, Will Should Enjoy by Toning up and Anient Location
    on the West. Tracy and McBrtde, the Cevene of "The Rosary" will be shown. GARRICK."The Han Bal-j troupe, and the UBual house features. Special Saturday matinees at the ' RESIGNATION IS ACCEPTED. Sunday at 3 and 8:15 this week's bill Blncoln begin at 2 p.m. with The President has accepted the cony." headed by Elsie Janis will be the performances from that hourcontinuousrestgnation by Maj. Paul K. The attraction at the offering.until closing* at 11 p.m. c United States infantry, ofManheijter,his iments commigsion as an officer of the FLORSHEIM SHOE Amust Theater next week,Shubert-Garrickbeginning Army. Sunday night, will be Frank BELASCO.Gertrude Hoffman. American. of Emll Gertrude FINANCIAL. m ii.I New played by the violins, and the production Nyitray'sSmithson's Hoffman, one of the Sunday, Cecil De DeMille's "Male | York Symphony. on the movements of the elephants.ponderouscomedy-drama, "The Man Interpretative dancers, willgreatesthead Female"; Monday, Colleen Moore, and Walter Damrosch, dean of to the bass viols, was Intrusted with Cyrlll Scott the featuredBalcony,"the Shubert bill, at the Belasco in "The Wall Flower"; Tuesday, Doris "WH Y N O T ? conductors, scored a veritableAmerican true to life, and yet was truly player. next week, beginning withTheaterthe May, in "The Understudy"; You ran earn from 12 to lS^v- on yonr amazirigrly the author of "The matinee Raving* by purelinaing our gilt-cdee no*ea. triumph both for himself and his melodiously beautiful. Quite the gem Emil Nyitray, Sunday. Norma Talmadge, in "ByWednesday.Right secured was familiar Man on the Balcony," is the author The Hoffman revue of Jane b.r second trust* on l)i*trirt real of the collection the production, Purchase"; Thursday.
    [Show full text]
  • Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
    DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß.
    [Show full text]
  • The Picture Show Annual (1928)
    Hid •v Digitized by the Internet Archive in 2015 https://archive.org/details/pictureshowannuaOOamal Corinne Griffith, " The Lady in Ermine," proves a shawl and a fan are just as becoming. Corinne is one of the long-established stars whose popularity shows no signs of declining and beauty no signs of fading. - Picture Show Annual 9 rkey Ktpt~ thcMouies Francis X. Bushman as Messala, the villain of the piece, and Ramon Novarro, the hero, in " Ben Hut." PICTURESQUE PERSONALITIES OF THE PICTURES—PAST AND PRESENT ALTHOUGH the cinema as we know it now—and by that I mean plays made by moving pictures—is only about eighteen years old (for it was in the Wallace spring of 1908 that D. W. Griffith started to direct for Reid, the old Biograph), its short history is packed with whose death romance and tragedy. robbed the screen ofa boyish charm Picture plays there had been before Griffith came on and breezy cheer the scene. The first movie that could really be called iness that have a picture play was " The Soldier's Courtship," made by never been replaced. an Englishman, Robert W. Paul, on the roof of the Alhambra Theatre in 18% ; but it was in the Biograph Studio that the real start was made with the film play. Here Mary Pickford started her screen career, to be followed later by Lillian and Dorothy Gish, and the three Talmadge sisters. Natalie Talmadge did not take as kindly to film acting as did her sisters, and when Norma and Constance had made a name and the family had gone from New York to Hollywood Natalie went into the business side of the films and held some big positions before she retired on her marriage with Buster Keaton.
    [Show full text]
  • 2016 Film Writings by Roderick Heath @ Ferdy on Films
    2016 Film Writings by Roderick Heath @ Ferdy On Films © Text by Roderick Heath. All rights reserved. Contents: Page Man in the Wilderness (1971) / The Revenant (2015) 2 Titanic (1997) 12 Blowup (1966) 24 The Big Trail (1930) 36 The Rocky Horror Picture Show (1975) 49 Dead Presidents (1995) 60 Knight of Cups (2015) 68 Yellow Submarine (1968) 77 Point Blank (1967) 88 Think Fast, Mr. Moto / Thank You, Mr. Moto (1937) 98 Push (2009) 112 Hercules in the Centre of the Earth (Ercole al Centro della Terra, 1961) 122 Airport (1970) / Airport 1975 (1974) / Airport ’77 (1977) / The Concorde… Airport ’79 (1979) 130 High-Rise (2015) 143 Jurassic Park (1993) 153 The Time Machine (1960) 163 Zardoz (1974) 174 The War of the Worlds (1953) 184 A Trip to the Moon (Voyage dans la lune, 1902) 201 2046 (2004) 216 Bride of Frankenstein (1935) 226 Alien (1979) 241 Solaris (Solyaris, 1972) 252 Metropolis (1926) 263 Fährmann Maria (1936) / Strangler of the Swamp (1946) 281 Viy (1967) 296 Night of the Living Dead (1968) 306 Fantastic Beasts and Where to Find Them (2016) 320 Neruda / Jackie (2016) 328 Rogue One (2016) 339 Man in the Wilderness (1971) / The Revenant (2015) Directors: Richard C. Sarafian / Alejandro Gonzalez Iñárritu By Roderick Heath The story of Hugh Glass contains the essence of American frontier mythology—the cruelty of nature met with the indomitable grit and resolve of the frontiersman. It‘s the sort of story breathlessly reported in pulp novellas and pseudohistories, and more recently, of course, movies. Glass, born in Pennsylvania in 1780, found his place in legend as a member of a fur-trading expedition led by General William Henry Ashley, setting out in 1822 with a force of about a hundred men, including other figures that would become vital in pioneering annals, like Jim Bridger, Jedediah Smith, and John Fitzgerald.
    [Show full text]
  • GSC Films: S-Z
    GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything.
    [Show full text]
  • Adaptation by Erich Von Stroheim Greed (1924)
    FILM McTeague (1899) Frank Norris (1870-1902) adaptation by Erich von Stroheim Greed (1924) ANALYSIS “What von Stroheim produced in Greed was a very lengthy, visual translation, in effect a cinema-novel whose working script attempted a page-for-page transcription of McTeague. In his wish to respect and preserve the authenticity of the novel, von Stroheim organized a series of production methods that stressed his idea of a faithful adaptation. He filmed Greed on location, without using a single studio set. In San Francisco, he reconstructed the pre-earthquake scenes of the novel and required his principal actors to sleep in the building where most of the early portions of the story were filmed, so that they could ‘really feel inside the characters they were to portray.’ The Death Valley episodes were shot at the peak of summer, when the wildly intense heat drove the actors to their limits, and made them authentically hate each other. Von Stroheim managed to reopen the Big Dipper Mine and made everyone—camera and light crews included—go down three thousand feet to shoot the Sierra mining sequences. Von Stroheim’s identification with Norris is evident in these complicated maneuvers, as in his presumption to speak for the author in the design of the film. Later he wrote, ‘I was given plein de pouvoir to make the picture as the author might have wanted it’; and he complained that these terms of artistic freedom soon changed. As it turned out, Louis Mayer and Irving Thalberg of Metro-Goldwyn-Mayer ‘did not care a hoop about what the author or I…had wanted.’…Von Stroheim eventually found that a commercially viable film would not allow the telling of the whole ‘truth’ as perceived by Norris and himself….
    [Show full text]
  • Frank Norris's "Mcteague" and Popular Culture
    UNLV Retrospective Theses & Dissertations 1-1-1996 Frank Norris's "McTeague" and popular culture Ruby M Fowler University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Fowler, Ruby M, "Frank Norris's "McTeague" and popular culture" (1996). UNLV Retrospective Theses & Dissertations. 3158. http://dx.doi.org/10.25669/ye6a-teps This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted.
    [Show full text]
  • Hollywood 1920 2 Séances
    Cours « Une histoire du cinéma en mots et en images » Semestre d’hiver 2019 Cinémathèque suisse, salle du Cinématographe, mercredi 14h-16h Pierre-Emmanuel Jaques Le cinéma américain des années 1920 27 novembre 4 décembre Extraits 27 nov. - On the Night Stage (1915) Prod: New York Motion Picture Corp. Distr: Mutual Master Pictures Réal: Thomas Barker, sc: C. Gardner Sullivan Supervision: Thomas H. Ince Int: William S. Hart, Rhea Mitchell, Robert Edeson, Herschel Mayall - Behind the Screen (1916) Charlot fait du ciné Réal: Charlie Chaplin distr: Mutual Int: Chaplin, Edna Purviance, Eric Campbell - Broken Blossoms (1919) Le Lys brisé Réal : David W. Griffith Distr: United Artists Int: Lilian Gish, Richard Barthelmess, Donald Crisp - Male and Female (1919) L’admirable Crichton Production: Famous Players – Lasky Distribution: Paramount-Artcraft Prod et réal: Cecil B. De Mille Int: Gloria Swanson, Thomas Meighan, Bebe Daniels - The Mark of Zorro (1920) Prod: Douglas Fairbanks Distr: United Artists Réal: Fred Niblo Int: Douglas Fairbanks, Noah Beery, Marguerite de la Motte - Three Ages (1923) Les trois âges (1923) [bluray] Production : Joseph M. Schenck pour Buster Keaton Productions Distribution : Metro Réal : Buster Keaton [et Eddie Cline] Int : Buster Keaton, Margaret Leahy, Wallace Beery 4 déc. - Greed (1925) Les Rapaces Louis B. Mayer presents / An Erich von Stroheim Production /Produced by Metro-Goldwyn- Mayer Corporation / Released through Metro-Goldwyn Distributing Corporation, controlled by Loew's Incorporated Réal: Erich Von Stroheim Int: Gibson Gowland, Zasu Pitts, Jean Hersholt - Lady Windermere’s Fan (1925) L’Eventail de Lady Windermere Production: Warner Bros. Réal: Ernst Lubitsch Int: Irene Rich, Ronald Colman, May McAvoy, Bert Lytell - Flesh and the Devil (1926) La Chair et le diable Prod: Metro-Goldwyn-Mayer Réal : Clarence Brown Int : Greta Garbo, John Gilbert, Lars Hanson - Sunrise: a Song of Two Humans (1927) L’Aurore Prod : William Fox Réal : F.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bieedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. HOORAY FOR HOLLYWOOD: GENDER AND SEXUAL NON-CONFORMITY LN THE CLASSICAL HOLLYWOOD ERA by Brett Leslie Abrams submitted to the Faculty of the College of Arts and Sciences of The American University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy [Education] in History i I Chair:lir: / a .
    [Show full text]