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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. -
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158. -
The Silent Film Project
The Silent Film Project Films that have completed scanning – Significant titles in bold: May 1, 2018 TITLE YEAR STUDIO DIRECTOR STAR 1. [1934 Walt Disney Promo] 1934 Disney 2. 13 Washington Square 1928 Universal Melville W. Brown Alice Joyce 3. Adventures of Bill and [1921] Pathegram Robert N. Bradbury Bob Steele Bob, The (Skunk, The) 4. African Dreams [1922] 5. After the Storm (Poetic [1935] William Pizor Edgar Guest, Gems) Al Shayne 6. Agent (AKA The Yellow 1922 Vitagraph Larry Semon Larry Semon Fear), The 7. Aladdin And The 1917 Fox Film C. M. Franklin Francis Wonderful Lamp Carpenter 8. Alexandria 1921 Burton Holmes Burton Holmes 9. An Evening With Edgar A. [1938] Jam Handy Louis Marlowe Edgar A. Guest Guest 10. Animals of the Cat Tribe 1932 Eastman Teaching 11. Arizona Cyclone, The 1934 Imperial Prod. Robert E. Tansey Wally Wales 12. Aryan, The 1916 Triangle William S. Hart William S. Hart 13. At First Sight 1924 Hal Roach J A. Howe Charley Chase 14. Auntie's Portrait 1914 Vitagraph George D. Baker Ethel Lee 15. Autumn (nature film) 1922 16. Babies Prohibited 1913 Thanhouser Lila Chester 17. Barbed Wire 1927 Paramount Rowland V. Lee Pola Negri 18. Barnyard Cavalier 1922 Christie Bobby Vernon 19. Barnyard Wedding [1920] Hal Roach 20. Battle of the Century 1927 Hal Roach Clyde Bruckman Oliver Hardy, Stan Laurel 21. A Beast at Bay 1912 Biograph D.W. Griffith Mary Pickford 22. Bebe Daniels & Ben Lyon 1931- Bebe Daniels, home movies 1935 Ben Lyon 23. Bell Boy 13 1923 Thomas Ince William Seiter Douglas Maclean 24. -
Reginalde M. Hannon Collection of Glass Negatives
http://oac.cdlib.org/findaid/ark:/13030/c8tx3m36 No online items Reginalde M. Hannon Collection of Glass Negatives Finding aid created by Seaver Center for Western History Research, Natural History Museum of Los Angeles County staff using RecordEXPRESS Seaver Center for Western History Research, Natural History Museum of Los Angeles County 900 Exposition Boulevard Los Angeles, California 90007-4057 (213) 763-3359 [email protected] http://www.nhm.org/site/research-collections/seaver-center 2017 Reginalde M. Hannon Collection P-282 1 of Glass Negatives Descriptive Summary Title: Reginalde M. Hannon Collection of Glass Negatives Dates: 1918 Collection Number: P-282 Creator/Collector: Mack Sennett, Inc. Mack Sennett Comedies (Firm) Extent: (Boxes: 7 1/2 photo; 1 5x7; 1 4x5; 1 ov folder) Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Los Angeles, California 90007-4057 Abstract: Glass negatives, in 8x10, 5x7, and odd sizes. Primarily of actors and actresses employed by the Mack Sennett Comedies Co., photographed by Evans Studios, Inc. Language of Material: English Access Research is by appointment only Publication Rights Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Preferred Citation Reginalde M. Hannon Collection of Glass Negatives. Seaver Center for Western History Research, Natural History Museum of Los Angeles County Scope and Content of Collection Glass negatives, in 8x10, 5x7, and odd sizes. Primarily of actors and actresses employed by the Mack Sennett Comedies Co., photographed by Evans Studios, Inc. (Studio name variations: Evans-Degaston; Nelson Evans Studio). Personalities include May Allison, Bathing Beauties, Betty Compson, Jackie Coogan, Cecil B. -
40 Years of American Film Comedy to Be Shown
40n8 - 4?' THE MUSEUM OF MODERN ART tl WEST 53RD STREET, NEW YORK •fgLEPHONE: CIRCLE 5-8900 FOR IMMEDIATE RELEASE FORTY YEARS OF AMERICAN FIM COMEDY FROM FLORA FINCH AND JOHN BUNNY TO CHAPLIN, FIELDS, BENCHLEY AND THE MARX BROTHERS TO BE SHOWN AT THE MUSEUM OF MODERN ART That movies are the proper study of mankind has been estab lished at the Museum of Modern Art, where eight comprehensive series and four smaller groups of the outstanding films through which the great popular art of the cinema has evolved since 1895, have already been shown to Museum visitors. The Museum now announces a new series of fifteen programs in the art of the motion picture under the general title: Forty Years of American Film Comedy, Part i; Beginning Thursday, August 1, the series will be presented dally at 4 P.M. and on Sundays at 3 P.M. and 4 P.M. in the Museum1s auditorium at 11 West 53 Street. Instruction will thus be provided from the screen by Professors Mack Sennett, Frank Capra, W. C. Fields, Harpo and Groucho Marx, Robert Benchley and Charlie Chaplin in a new appraisal of screen comedy reviewed in the light of history. "It is very evident," states Iris Barry, Curator of the Museum's Film Library, "that the great farce-comedies, as well as the cowboy and gangster films, rank among this country1s most original contributions to the screen. We are grateful indeed to the film industry for cooperating with the Museum in providing this unique opportunity for tracing screen comedy to its sources in this group of classics now restored to view for the amateurs of the twentieth century's liveliest art. -
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. -
Sennett Creative Campus, Echo Park's Newest Modern
SENNETT CREATIVE CAMPUS, ECHO PARK’S NEWEST MODERN/CREATIVE OFFICE ENVIRONMENT 1745- 1759 GLENDALE BOULEVARD, ECHO PARK, CALIFORNIA David Aschkenasy Executive Vice President Phone 310.272.7381 email [email protected] The Sennett Creative Campus is greater Los Angeles’ most unique creative office destination. The Spaces: +/- 6,500 - 14,000 sq ft Campus offers one of the largest and architecturally significant, contiguous office spaces available. Rate: $1.95 psf, Modified Gross Originally built in 1946, and fully modernized and renovated in 2015, 1745-1759 N Glendale Blvd is a Parking: In rear of building, free of charge 30,000 Square Foot +/- campus environment that brings the glory of old Hollywood to life in the 21st Century. Comprised of 4 buildings, outdoor patios and surface parking lots, 1745-1759 N Glendale Features: • Exposed Ceilings Blvd is equipped with dramatic exposed wood truss ceilings, new HVAC & electric, polished concrete • Loading Dock and hardwood floors, brand new restrooms, reclaimed wood kitchens, multiple skylights and ample • Concrete & Hardwood Flooring parking. Greater Los Angeles is very limited with regard to true creative office space of this scale and • Exposed HVAC Ducting caliber. While there is availability in Silicon Beach (Venice and Santa Monica), Hollywood, and the • High Ceilings Arts District, the Sennett Creative Campus offers the same Creative Office Build outs at a fraction of the price. The Campus is priced at least 50% below these other creative office locations, and offers • Private Exterior Patios free parking for an additional savings. There is also the opportunity to have the exclusive use of the • Skylights rooftop billboard. -
Mabel Normand
Mabel Normand Also Known As: Mabel Fortescue Lived: November 9, 1892 - February 23, 1930 Worked as: co-director, comedienne, director, film actress, producer, scenario writer Worked In: United States by Simon Joyce, Jennifer Putzi Mabel Normand starred in at least one hundred and sixty-seven film shorts and twenty-three full- length features, mainly for Mack Sennett’s Keystone Film Company, and was one of the earliest silent actors to function as her own director. She was also one of the first leading performers to appear on film without a previous background in the theatre (having begun her career in modeling), to be named in the title of her films (beginning with 1912’s Mabel’s Lovers), and to have her own studio (the ill-fated Mabel Normand Feature Film Company). That her contributions to early film history are not better known is attributable in part to her involvement in the Hollywood scandals of the 1920s, and in part to our reliance on the self-interested memoirs of her better-known colleagues (especially Sennett and Charlie Chaplin) following her death at age thirty-eight. It is hard to get an accurate picture from such questionable and contradictory recollections, or from interviews with Normand herself, filtered as they often were through a sophisticated publicity operation at Keystone. Film scholars who have worked with these same sources have often proved just as discrepant and unreliable, especially in their accounts of her directorial contributions. Normand’s early career included stints at the Biograph Company, working with D. W. Griffith, and at the Vitagraph Company, yet it was her work at Keystone that solidified her image as slapstick comedienne. -
Lilms Perisllecl
Film History, Volume 9, pp. 5-22, 1997. Text copyrig ht © 1997 David Pierce. Design, etc. copyright© John libbey & Company. ISSN: 0892-2 160. Pri nted in Australia l'lle legion of file conclemnecl - wlly American silenf lilms perisllecl David Pierce f the approximately 1 0 ,000 feature print survives for most silent films, usually therewere films and countless short subjects re not many copies lo begin with . While newspapers leased in the United States before or magazines were printed and sold by the thou O 1928, only a small portion survive . sands, relatively few projection prints were re While so me classics existand are widelyavailable, quired for even the most popular silent films . In the many silent films survive only in reviews, stills, pos earliest days of the industry, producers sold prints, ters and the memories of the few remaining audi and measured success bythe number ofcopies sol d. ence members who saw them on their original By the feature period, beginning around 1914, release. 1 copies were leased lo subdistributors or rented lo Why did most silent films not survive the pas exhibitors, and the owners retained tight control. sage of time? The curren! widespread availability The distribution of silent features was based on a of many tilles on home video, and the popularity of staggered release system, with filmgoers paying silent film presentations with live orchestral accom more lo see a film early in its run. Films opened in paniment might give the impression that silent films downtown theatres, moved lo neighbourhood had always been held in such high regard . -
1 Introducing American Silent Film Comedy: Clowns, Conformity, Consumerism
Notes 1 Introducing American Silent Film Comedy: Clowns, Conformity, Consumerism 1. This speech has often been erroneously quoted (not least by Adam Curtis in his 2002 documentary The Century of the Self ) as ‘You have taken over the job of creating desire and transformed people into constantly moving happi- ness machines’ – a tremendously resonant phrase, but not one which actually appears in the text of Hoover’s speech. Spencer Howard of the Herbert Hoover Presidential Library attributes the corrupted version to a mis-transcription several decades later. 2. The title of his 1947 essay. His key writings in the 1920s were Crystallizing Public Opinion (1923) and Propaganda (1928). 3. Of course, not all responded sympathetically to the film’s vicious racist message. The NAACP mounted a particularly effective campaign against the film, which was banned in several states and sparked mass protests in others. For the full story see Melvyn Stoke, D.W. Griffith’s ‘The Birth a Nation’, Oxford: Oxford University Press, 2008. 4. CPI titles made in 1917/18 include America’s Answer, Under Four Flags and Pershing’s Crusaders – distributors who wanted the new Fairbanks or Pickford picture would be forced to take a CPI release as well. 2 A Convention of Crazy Bugs: Mack Sennett and the US’s Immigrant Unconscious 1. The temptation, here, is to regard Sennett’s name and the Keystone brand as being broadly synonymous, but one should remember that Sennett started off, first, as an actor and then, as a director at Biograph in 1909; the Key- stone Company was set up by Adam Kessel and Charles Baumann in 1912 (Sennett was never the owner). -
The History of Film
NO. 45 -ii u rm j A . FOR IMMEDIATE RELEASE The Museum of Modern Art 11 West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart THE HISTORY OF FILM The fourth in The Museum of Modern Art's cycles presenting "The History of Film" will begin on Sunday June 6 at 5:00 with a series of short films by Edison, Lumiere, Melies, and others representing the birth of the cinema. The three year cycle, presented ewery Sunday evening at 5:00 through April 29, 1979, will trace the evolution of film from these early works through such masters as Griffith, Chaplin, von Stroheim, and King Vidor and concluding with the recent works "Death in Venice" by Luchino Visconti and Robert Altman's "McCabe and Mrs. Miller." This major series, consisting of 148 weekly programs, was organized by Jon Gartenberg, Curatorial Assistant in the Department of Film and is designed to show that film history is "a network of interrelationships and influences between one work and another over the past eighty years." Thus, though a great many classic films are not included, many lesser-known but historically important films will be shown and such phenomena as the beginnings of the motion picture, early experiments with sound, and the development of such genres as Westerns, the historical drama, and movie serials will be examined. While examples of foreign films, shorts, avant- garde, and animated films are included, the primary emphasis of the cycle is to show the development of the American feature film from its roots through 1971. -
Sample Chapter
King_Ch01 6/17/08 18:35 Page 19 1. “The Fun Factory” Class, Comedy, and Popular Culture, 1912–1914 One has to hand this to the Americans: with slapstick films they have created a form that offers a counterweight to their reality. If in that reality they subject the world to an often unbearable discipline, the film in turn dismantles this self-imposed order quite forcefully. siegfried kracauer, “Artistisches und Amerikanisches” (1926) When, in 1912, the Moving Picture World critic W.Stephen Bush lamented the “absence of genuine humor” in a majority of comic films, he was merely making explicit a perception that had long been accepted at the grass-roots level.1 Feeling short-changed by an industry that had drasti- cally cut back its comedy output since 1908, theater owners had taken to writing to trade journals to voice their dissatisfactions. “There is too much high class drama, which cannot be understood by the average working man,” noted one such exhibitor. “A very large proportion seems to thor- oughly enjoy the old Essanay slap-stick variety.”2 Filmmakers, too, acknowl- edged the demand: “Can you write a good comedy?” Photoplay asked its readers in October 1912. “Try it, for the producer will pay more attention to it just now than any other.”3 “Comedies, comedies, comedies,” a studio sce- narist demanded in another issue of the same publication. “Get your scriptwriting readers to try their hand at comedies; we need them, all film producers want them.”4 No doubt there was reason to be thankful, then, when the formation of a new, all-comedy company was announced that fall.