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P-26 Motion Picture Collection Repository: Seaver Center For
P-26 Motion Picture Collection Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Span Dates: c.1872-1971, bulk 1890s-1930s Extent: 48 linear feet Language: Primarily English Conditions Governing Use: Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Conditions Governing Access: Research is by appointment only Preferred Citation: Motion Picture Collection, Seaver Center for Western History Research, Los Angeles County Museum of Natural History Related Holdings: There are numerous related collections, and these can be found by consulting the Photo and General Collection guides available at the Seaver Center’s website. They include manuscripts in general collection 1095 (Motion Pictures Collection), general collection 1269 (Motion Picture Programs and Memorabilia), general collection 1286 (Movie Posters Collection), general collection 1287 (Movie Window Cards and Lobby Cards Collection), and general collection 1288 (Motion Picture Exhibitors’ Campaign Books). Seaver Center for Western History Research P-26 Abstract: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented, including portraits by studio photographers, film and set stills, and other images, as well as related programs, brochures and clippings. Early technology and experimental work in moving pictures is represented by images about camera and projection devices and their inventors. Items related to movie production include early laboratories, sound, lighting and make-up technology. These items form Photograph Collection P-26 in the Seaver Center for Western History Research. Scope and Content: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented (including portraits by studio photographers), film stills, set stills, and other images, as well as related programs, brochures and clippings. -
Knockabout and Slapstick: Violence and Laughter in Nineteenth-Century Popular Theatre and Early Film
Knockabout and Slapstick: Violence and Laughter in Nineteenth-Century Popular Theatre and Early Film by Paul Michael Walter Babiak A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Drama, Theatre and Performance Studies University of Toronto ©Copyright by Paul Michael Walter Babiak, 2015 Knockabout and Slapstick: Violence and Laughter in Nineteenth-Century Popular Theatre and Early Film Paul Michael Walter Babiak Doctor of Philosophy Centre for Drama, Theatre and Performance Studies University of Toronto 2015 Abstract This thesis examines laughter that attends violent physical comedy: the knockabout acts of the nineteenth-century variety theatres, and their putative descendants, the slapstick films of the early twentieth-century cinema. It attempts a comparative functional analysis of knockabout acts and their counterparts in slapstick film. In Chapter 1 of this thesis I outline the obstacles to this inquiry and the means I took to overcome them; in Chapter 2, I distinguish the periods when knockabout and slapstick each formed the dominant paradigm for physical comedy, and give an overview of the critical changes in the social context that separate them. In Chapter 3, I trace the gradual development of comedy films throughout the early cinema period, from the “comics” of 1900 to 1907, through the “rough house” films of the transitional era, to the emergence of the new genre in 1911-1914. ii Chapters 4, 5, 6 and 7 present my comparative analyses of the workings of four representative -
The Image of the Journalist in Silent Film, Part One: 1890 to 1919
Journalist in Silent Film 35 The Image of the Journalist in Silent Film, 1890 to 1929: Part One 1890 to 1919 Joe Saltzman Professor of Journalism Director of the Image of the Journalist in Popular Culture (IJPC) A Project of the Norman Lear Center Annenberg School for Communication and Journalism University of Southern California Los Angeles, CA [email protected] with Liz Mitchell Senior Research Associate Image of the Journalist in Popular Culture (IJPC) Annenberg School for Communication and Journalism University of Southern California Los Angeles, CA [email protected] Introduction This is the first installment in the landmark study of “The Image of the Journalist in Silent Film, 1890 to 1929.” It covers 1,948 films from 1890 to 1919. Part Two will cover the years from 1920 to the beginning of recorded sound in 1929. This is the first comprehensive study of the beginning of cinema’s earliest depictions of the journalist, mostly newspaper reporters, editors, and publishers. Newspaper fiction flourished at a time when journalism “was a revolutionary force, tearing up traditions, redefining public morality, and lending voice and encouragement to the disenfranchised. It reflected currents sweeping through every phase of American life. The skyrocketing circulations, the manic search for exclusive news, the sensational headlines, and the concentration of newspaper ownership were signs of an America changing from a rural society to an urban and industrial one. Since journalism so clearly mirrored and so loudly supported the new order, it became the preeminent symbol for the mechanization, standardization, democratization, and vulgarization of culture.”1 Historian Howard Good points out that the 1890s “represented a watershed not only in American journalism but also in American history. -
The Emergence of Brooklyn's Cultural Identity During Cinema's Silent Era, 1893-1928
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2014 City of Superb Democracy: The Emergence of Brooklyn's Cultural Identity During Cinema's Silent Era, 1893-1928. David Morton University of Central Florida Part of the Public History Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Morton, David, "City of Superb Democracy: The Emergence of Brooklyn's Cultural Identity During Cinema's Silent Era, 1893-1928." (2014). Electronic Theses and Dissertations, 2004-2019. 4638. https://stars.library.ucf.edu/etd/4638 “CITY OF SUPERB DEMOCRACY:” THE EMERGENCE OF BROOKLYN’S CULTURAL IDENTITY DURING CINEMA’S SILENT ERA, 1893-1928 by DAVID D. MORTON B.A. East Stroudsburg University, 2009 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2014 Major Professor: Amy Foster © 2014 David Morton ii ABSTRACT This study discusses how motion picture spectatorship practices in Brooklyn developed separately from that of any other urban center in the United States between 1893 and 1928. Often overshadowed by Manhattan’s glamorous cultural districts, Brooklyn’s cultural arbiters adopted the motion picture as a means of asserting a sense of independence from the other New York boroughs. -
Helen Gardner
Helen Gardner Lived: September 2, 1884 - November 20, 1968 Worked as: director, film actress, film company owner, producer, scenario writer Worked In: United States by Dorin Gardner Schumacher Helen Gardner’s silent film career peaked three times. The first peak came in 1911 with her performance as Becky Sharp in Vanity Fair (1911), important as an early three-reel film, forerunner of four-reel and longer feature films. A review in the Moving Picture World praised the Vitagraph Company of America for the film’s wonderful fidelity to Thackeray’s novel. The reviewer was thrilled with Gardner’s performance: “We might ramble on for hours in ecstasies over the superb work of Miss Gardner and at the end of that time have given but a faint idea of what we saw her do” (887). When Vanity Fair was released, in December of 1911, Gardner had been with Vitagraph about a year and a half. The second peak of Gardner’s career came when she formed her own production company, Helen Gardner Picture Players, which she publicly announced on May 22, 1912, in the New York Dramatic Mirror (27). For a woman, to walk away from success and relative security at Vitagraph in order to attempt an independent way of satisfying her ambitions was a bold and unconventional move. Gardner’s vision too was bold. She was embarking on a moviemaking venture whose stated purpose was to specialize in large feature motion picture productions of five and six reels in length. Gardner was the first actress to strike out on her own for independent production. -
Filmography. In: Caughie, J., Griffiths, T
Caughie, J. (2018) Filmography. In: Caughie, J., Griffiths, T. and Vélez- Serna, M. A. (eds.) Early Cinema in Scotland. Edinburgh University Press: Edinburgh, pp. 190-238. ISBN 9781474420341. This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/166390/ Deposited on: 10 August 2018 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk CHAPTER 11 Filmography of Scottish-themed fction flms John Caughie This is intended as a comprehensive catalogue of Scottish-themed fction flms, produced in Scotland, England, Europe and the USA until 1927 and reviewed in the British and American trade press or on the Internet Movie Database (IMDb) or, on a few occasions, in local newspapers. There are a few criteria for being identifed as ‘Scottish-themed’: the flm is set (though not necessarily flmed), in whole or in part, in real or fctional Scotland; the flm has, in whole or in part, a signifcant Scottish story or draws on a Scottish story (the 1913 Annie Laurie is set in the American south, but draws on the Scottish song as a narrative link); a signifcant character is Scottish (Vitagraph’s The Wolf (1919) is set in a Canadian trapper camp, but the heroine’s ‘cruel father’, according to the Moving Picture World review, ‘typifes well the traditional Scottish male parent’). Thus flms may be wholly or partially Scottish, but the Scottish element is clearly identifed in press comment or reviews.