By Charlie Keil, Ben Singer
The essays in American Cinema of the 1910s discover the fast advancements of the last decade that all started with D. W. Griffith's unequalled one-reelers. by way of mid-decade, multi-reel function movies 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 global struggle I, the political, fiscal, and business foundation used to be laid for American cinema's worldwide dominance. by way of the tip of the last decade, filmmaking had develop into a real undefined, entire with vertical integration, effective specialization and standardization of practices, and self-regulatory agencies.
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Extra resources for American Cinema of the 1910s : Themes and Variations
1910 Movies, Reform, and New Women SCOTT SIMMON At the start of the decade, it was still possible to call “moving pictures” a “passing” fad that “have had their day” and to classify them alongside the roller skating craze, as did the feminist reformer Rheta Childe Dorr (228). But others saw the movies growing into the new century’s deﬁning mode of entertainment, and perhaps destined for something more. Typical, in both its awe over the phenomenon and its worry over unruly audiences and under-regulated ﬁlms, was a magazine piece titled “A Theatre with a 5,000,000 Audience”: Squads of police are necessary in many places to keep in line the expectant throngs awaiting their turn to enter the inner glories.
In a ghetto garment shop, she picks up home-assembly work, but when she brings back the ﬁnished goods, the owner’s son plants on her money stolen from his father’s wallet—leading to the presumption of her guilt and pursuit by a policeman, Ofﬁcer Quinn. She loses him on the Lower East Side and hops a trolley into the country, where she ﬂees along a dirt road until collapsing outside the gate of a rural home. Rescued by a farmer and his mother, she “LEARNS TO SMILE ” and to ﬁnd love. Some time later, Ofﬁcer Quinn heads out for “A DAY’S FISHING ” and stops for water at that very farm.
A partially surviving Selig cavalry western (whose title is lost) seems surely to be taking place in the nineteenth century—until one spots the 1910 calendar on the commandant’s 1910 — MOVIES, REFORM, AND NEW WOMEN 37 Alessandro (Henry B. Walthall) and Ramona (Mary Pickford) at the Rancho Camulos, California, location for Ramona. wall. Westerns were also not nearly so centered on male heroics as they would come to be, and the popularity of plucky cowgirls grew over the next two years. What were revelatory to audiences this year were westerns that began to exploit the actual landscape of the far West.
American Cinema of the 1910s : Themes and Variations by Charlie Keil, Ben Singer