Final Judgment: U.S. V. Motion Picture Patents Company, Et
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Mabel's Blunder
Mabel’s Blunder By Brent E. Walker Mabel Normand was the first major female comedy star in American motion pictures. She was also one of the first female directors in Hollywood, and one of the original principals in Mack Sennett’s pioneering Keystone Comedies. “Mabel’s Blunder” (1914), made two years after the formation of the Keystone Film Company, captures Normand’s talents both in front of and behind the camera. Born in Staten Island, New York in 1892, a teenage Normand modeled for “Gibson Girl” creator Charles Dana Gibson before entering motion pictures with Vitagraph in 1910. In the summer of 1911, she moved over to the Biograph company, where D.W. Griffith was making his mark as a pioneering film director. Griffith had already turned actresses such as Florence Lawrence and Mary Pickford into major dramatic stars. Normand, however, was not as- signed to the dramas made by Griffith. Instead, she went to work in Biograph’s comedy unit, directed by an actor-turned-director named Mack Sennett. Normand’s first major film “The Diving Girl” (1911) brought her notice with nickelodeon audiences. A 1914 portrait of Mabel Normand looking Mabel quickly differentiated herself from the other uncharacteristically somber. Courtesy Library of Congress Biograph actresses of the period by her willingness Prints & Photographs Online Collection. to engage in slapstick antics and take pratfalls in the name of comedy. She also began a personal ro- to assign directorial control to each of his stars on mantic relationship with Mack Sennett that would their comedies, including Normand. Mabel directed have its ups and downs, and would eventually in- a number of her own films through the early months spire a Broadway musical titled “Mack and Mabel.” of 1914. -
Hooray for Hollywood!
Hooray for Hollywood! The Silent Screen & Early “Talkies” Created for free use in the public domain American Philatelic Society ©2011 • www.stamps.org Financial support for the development of these album pages provided by Mystic Stamp Company America’s Leading Stamp Dealer and proud of its support of the American Philatelic Society www.MysticStamp.com, 800-433-7811 PartHooray I: The Silent forScreen andHollywood! Early “Talkies” How It All Began — Movie Technology & Innovation Eadweard Muybridge (1830–1904) Pioneers of Communication • Scott 3061; see also Scott 231 • Landing of Columbus from the Columbian Exposition issue A pioneer in motion studies, Muybridge exhibited moving picture sequences of animals and athletes taken with his “Zoopraxiscope” to a paying audience in the Zoopraxographical Hall at the 1893 Columbian Exposition. Although these brief (a few seconds each) moving picture views titled “The Science of Animal Locomotion” did not generate the profit Muybridge expected, the Hall can be considered the first “movie theater.” Thomas Alva Edison William Dickson Motion Pictures, (1847–1947) (1860–1935) 50th Anniversary Thomas A. Edison Pioneers of Communication Scott 926 Birth Centenary • Scott 945 Scott 3064 The first motion picture to be copyrighted Edison wrote in 1888, “I am experimenting Hired as Thomas Edison’s assistant in in the United States was Edison upon an instrument which does for the 1883, Dickson was the primary developer Kinetoscopic Record of a Sneeze (also eye what the phonograph does for the of the Kintograph camera and Kinetoscope known as Fred Ott’s Sneeze). Made January ear.” In April 1894 the first Kinetoscope viewer. The first prototype, using flexible 9, 1894, the 5-second, 48-frame film shows Parlour opened in New York City with film, was demonstrated at the lab to Fred Ott (one of Edison’s assistants) taking short features such as The Execution of visitors from the National Federation of a pinch of snuff and sneezing. -
American Independent Cinema 1St Edition Pdf, Epub, Ebook
AMERICAN INDEPENDENT CINEMA 1ST EDITION PDF, EPUB, EBOOK Geoff King | 9780253218261 | | | | | American Independent Cinema 1st edition PDF Book About this product. Hollywood was producing these three different classes of feature films by means of three different types of producers. The Suburbs. Skip to main content. Further information: Sundance Institute. In , the same year that United Artists, bought out by MGM, ceased to exist as a venue for independent filmmakers, Sterling Van Wagenen left the film festival to help found the Sundance Institute with Robert Redford. While the kinds of films produced by Poverty Row studios only grew in popularity, they would eventually become increasingly available both from major production companies and from independent producers who no longer needed to rely on a studio's ability to package and release their work. Yannis Tzioumakis. Seeing Lynch as a fellow studio convert, George Lucas , a fan of Eraserhead and now the darling of the studios, offered Lynch the opportunity to direct his next Star Wars sequel, Return of the Jedi Rick marked it as to-read Jan 05, This change would further widen the divide between commercial and non-commercial films. Thanks for telling us about the problem. Until his so-called "retirement" as a director in he continued to produce films even after this date he would produce up to seven movies a year, matching and often exceeding the five-per-year schedule that the executives at United Artists had once thought impossible. Very few of these filmmakers ever independently financed or independently released a film of their own, or ever worked on an independently financed production during the height of the generation's influence. -
Appendix: Partial Filmographies for Lucile and Peggy Hamilton Adams
Appendix: Partial Filmographies for Lucile and Peggy Hamilton Adams The following is a list of films directly related to my research for this book. There is a more extensive list for Lucile in Randy Bryan Bigham, Lucile: Her Life by Design (San Francisco and Dallas: MacEvie Press Group, 2012). Lucile, Lady Duff Gordon The American Princess (Kalem, 1913, dir. Marshall Neilan) Our Mutual Girl (Mutual, 1914) serial, visit to Lucile’s dress shop in two episodes The Perils of Pauline (Pathé, 1914, dir. Louis Gasnier), serial The Theft of the Crown Jewels (Kalem, 1914) The High Road (Rolfe Photoplays, 1915, dir. John Noble) The Spendthrift (George Kleine, 1915, dir. Walter Edwin), one scene shot in Lucile’s dress shop and her models Hebe White, Phyllis, and Dolores all appear Gloria’s Romance (George Klein, 1916, dir. Colin Campbell), serial The Misleading Lady (Essanay Film Mfg. Corp., 1916, dir. Arthur Berthelet) Rebecca of Sunnybrook Farm (Mary Pickford Film Corp., 1917, dir. Marshall Neilan) The Rise of Susan (World Film Corp., 1916, dir. S.E.V. Taylor), serial The Strange Case of Mary Page (Essanay Film Manufacturing Company, 1916, dir. J. Charles Haydon), serial The Whirl of Life (Cort Film Corporation, 1915, dir. Oliver D. Bailey) Martha’s Vindication (Fine Arts Film Company, 1916, dir. Chester M. Franklin, Sydney Franklin) The High Cost of Living (J.R. Bray Studios, 1916, dir. Ashley Miller) Patria (International Film Service Company, 1916–17, dir. Jacques Jaccard), dressed Irene Castle The Little American (Mary Pickford Company, 1917, dir. Cecil B. DeMille) Rebecca of Sunnybrook Farm (Mary Pickford Company, 1917, dir. -
The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927
Working Paper No. 70/03 The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927 Gerben Bakker © Gerben Bakker Department of Economic History London School of Economics February 2003 Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0)20 7955 6482 Fax: +44 (0)20 7955 7730 Working Paper No. 70/03 The Decline and Fall of the European Film Industry: Sunk Costs, Market Size and Market Structure, 1890-1927 Gerben Bakker © Gerben Bakker Department of Economic History London School of Economics February 2003 Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0)20 7955 6482 Fax: +44 (0)20 7955 7730 Table of Contents Acknowledgements_______________________________________________2 Abstract________________________________________________________3 1. Introduction___________________________________________________4 2. The puzzle____________________________________________________7 3. Theory______________________________________________________16 4. The mechanics of the escalation phase _____________________________21 4.1 The increase in sunk costs______________________________________21 4.2 The process of discovering the escalation parameter _________________29 4.3 Firm strategies_______________________________________________35 5. Market structure ______________________________________________47 6. The failure to catch up _________________________________________54 7. Conclusion __________________________________________________63 -
The Silent Film Project
The Silent Film Project Films that have completed scanning: 43. Detecting (1927) 1. 13 Washington Square (Universal 1928) 44. Devil’s Island (Chadwick Pictures 1926) 2. A Collection Burton Holmes travelogues 45. Diamond Cutters of Amsterdam (Burton 3. A Hero on Horseback (Universal 1927) Holmes 1928) 4. A Kiss In The Dark (Paramount 1925) 46. Dixie Paradise (Ardelle Studios 1935) 5. A Pair of Silk Stockings (Schenck 1918) 47. Dress Parade (DeMille Pictures 1927) 6. A Raring Romeo (1925) 48. Dynamite Dan (Aywon Film Corp. 1924) 7. A Ten Minute Egg(1924) 49. Early Hollywood Production Footage 8. A trip thru a modern bottling plant 50. East Side-West Side (Principal Pictures 1923) 9. After the Storm (Poetic Gem 1935) 51. Electric Starter (1924) 10. African Dreams 52. Eyes Right (Goodwill 1926) 11. Aladdin and the Wonderful Lamp (Fox 1917) 53. Family Album 12. Alexandria (Burton Holmes 1921) 54. Famous People at Play 13. An Evening with Edgar A. Guest (Jam Handy) 55. Fast Black (1924) 14. Animals of the Cat Tribe 56. Film Inspection by Machine 15. At First Sight (1923) 57. Flying High (The Collegians) (1929 short) 16. Auntie’s Portrait 58. Four Times Foiled (C.L. Chester Prod. 1919) 17. Autumn (1922) 59. Fort Rupert (1951) 18. Babies Prohibited (Thanhouser 1913) 60. Freckles (RKO Radio Pictures, Inc. 1935) 19. Barnyard Cavalier (1922) 61. Frogland 20. Barnyard Wedding 62. Getting Gertie’s Goat 21. Bebe Daniels & Ben Lyon home movies 63. God’s Heaven (Soundie) 22. Bell Boy 13 (Thomas H. Ince 1923) 64. Golden Trails (William (Bill) Mix Prod. -
EDISON the Invention of the Movies
Kino International Corp. presents EDISON The Invention of the Movies From the collections of The Museum of Modern Art & The Library of Congress A 4 Disc DVD set Curated by Steven Higgins, The Museum of Modern Art Charles Musser, Yale University Film Notes by Charles Musser Introduction Edison: Commercial motion pictures were invented at the Edison Laboratory between 1888 and 1893. They were actually a system of inventions: a camera, a viewing machine (the peep-hole kinetoscope), and equipment for printing, sprocket punching, and the developing of long strands of film. Perhaps none of these component parts was strictly new, but the ability of Edison and his staff to reorganize them for a specific purpose was an extraordinary technological and cultural achievement. Within a year, Edison had launched motion pictures as a commercial enterprise, remaining in the business until 1918––a 30 year involvement in motion pictures. During that period, the technical system underwent alteration and improvement: the development of the “Latham loop,” which enabled the system to handle large quantities of film; the introduction of projection; a reframing device for projectors so the film could be kept in frame; and the three-blade shutter, which reduced flicker during projection. Arguably more important was the cultural transformation of motion picture production: the shift in editorial control from exhibitor to production company and the concomitant creation of the filmmaker, the development of story films, the proliferation of specialized motion picture theaters (often called nickelodeons), and the eventual emergence and dominance of feature-length films. In 1894, Edison was the sole producer of motion pictures in the world. -
Sample Chapter
29004_U01.qxd 2/6/06 3:54 PM Page 13 Chapter 1 American Variety and/or Foreign Features The Throes of Film Distribution Imagine that you are a young woman who has decided to join one of your store clerk or stenographer friends going to the movies after work in down- town Des Moines, Iowa, in the spring of 1913. On Sunday, May 4, you read the Des Moines News and know what programs will be playing in at least four moving picture theaters that next week.1 On Tuesday, for instance, what are your choices? At the Casino (just opened in December) is Pathé’s Weekly (a newsreel), Essanay’s The Crazy Prospector, and Vitagraph’s Cinders. At the Fam- ily, Bison-101’s two-reel The Indian’s Secret and Billy’s First Quarrel. At the Unique, Majestic’s two-reel Children of St. Anne and Her Sister’s Secret. The Colonial has a special feature (running all week), the five-reel Satan or “The Drama of Humanity . from Creation to the present time.”2 Which theater you and your friend choose could depend on several factors, but, as a fre- quent moviegoer, you could count on familiarity and the relative quality of the variety programs at three of these theaters, each changed daily and sup- plied by a different film service or distributor: the Casino (General Film), the Family (Universal), and the Unique (Mutual). You also could be attracted, however, by Satan’s promotion as a sensational historical epic or by its nov- elty as a special feature (from Europe, no less), since the only previous film of four reels or more to play in the city was Queen Elizabeth, with Sarah -
SECOND SHOWING of FILM PROGRAMS December 8
TIGHT BINDING The Museum of Modern Art if) 11 Weat ».1r.l Street New York N. Y. Telephone: Circle 7-7470 Coble Addreae: Modernart frees Please reply to: The Film Library, 485 Madison Avenue, New York, N. Y. dent: „,g«,r Goodyear Truatee Committee: John Hay Whitney, Chair man, A. Conger Goodyear, Edward M. M. Warburg {^.President: John D. Rockefeller, Jr. Director, John E. Abbott Curator, Iris Barry Telephone: PLaca 3-1981 Wg.PrealdenU January 31, 1936 L, C.Clark Lgry.Treonurert fj A. Lewlaohn TO MOTION PICTURE EDITORS TO CITY EDITORS .HuiN.BIlM Robert Wood* BHM Dear Sirs: IV. Murray Crane Lord Duvcen of Millbank The PRESS VIEW of the second program, The Rise of the American ,ball Field Film, given by the Muse-urn of Modern Art Film Library will be | Ford held at the DALTON SCHOOL AUDITORIUM, 168 East 89th Street, New l0nd B. Foedlck York City, TUESDAY February 4 at 8:30 P.M. lp Goodwin Charles S. Payson The four motion pictures which comprise the program are: | Stanley Kesor >D A. Rockefeller The New York Eat (1912) directed by D. W. Griffith, with Mary J. Sacba Pickford and Lionel Barrymore John S. Sheppard The Fugitive (1915) directed by Thomas K. Ince, with Wm.S.Hart ird M. M. Warburg The Clever Dummy (1917) a Mack Sennett comedy with Ben Turpin l Hay Whitney A Fool There Was (1914) directed by Frank Powell, with Theda Bara Program notes will explain the significance of these films and tort d H. Barr, Jr. they will be accompanied by music appropriate to the day in which each was produced. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
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. -
Early Classical Hollywood Cinema 1900'S-In The
Early Classical Hollywood Cinema 1900’s-In the early 1900s, motion pictures ("flickers") were no longer innovative experiments/scapist entertainment medium for the working-class masses/ Kinetoscope parlors, lecture halls, and storefronts turned into nickelodeon. Admission 5 cents (sometimes a dime) - open from early morning to midnight. 1905-First Nickelodean -Pittsburgh by Harry Davis in June of 1905/few theatre shows in US- shows GREAT TRAIN ROBBERY Urban, foreign-born, working-class, immigrant audiences loved the cheap form of entertainment and were the predominent cinema-goers Some of the biggest names in the film business got their start as proprietors, investors, exhibitors, or distributors in nickelodeons.:Adolph Zukor ,Marcus Loew, Jesse Lasky, Sam Goldwyn (Goldfish), the Warner brothers, Carl Laemmle, William Fox, Louis B. Mayer 1906-According to most sources, the first continuous, full-length narrative feature film (defined as a commercially-made film at least an hour in length) was Charles Tait's biopic of a notorious outback bushranger, The Story of the Kelly Gang (1906, Australia)- Australia was the only country set up to regularly produce feature-length films prior to 1911.- 1907-Griffith begins working for Edision- Edwin S. Porter's and Thomas Edison's Rescued From the Eagle's Nest (1907)/ Griffith- Contributing to the modern language of cinema, he used the camera and film in new, more functional, mobile ways with composed shots, traveling shots and camera movement, split-screens, flashbacks, cross-cutting (showing two simultaneous actions that build toward a tense climax), frequent closeups to observe details, fades, irises, intercutting, parallel editing, dissolves, changing camera angles, soft-focus, lens filters, and experimental/artificial lighting and shading/tinting.