This authoritative choice of introductory and really good readings explores the wealthy and cutting edge historical past of this era in American cinema. Spanning a vital variety of topics from the early 1900s Nickelodeon to the decline of the studio method within the Sixties, it combines a vast historic context with cautious readings of person motion pictures.
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Additional info for American Film History: Selected Readings, Origins to 1960
We meet Mickey at the wheel of the steamboat, whistling and tapping his foot, and for the next eight minutes virtually everything within Mickey’s reach becomes a musical instrument – bull’s teeth become a SETTING THE STAGE: ORIGINS TO 1928 xylophone, pots and a washboard a percussion section. The bodies of objects and creatures undergo amazing transformations in a space where nothing seems permanent. As Robert Sklar has written of Disney’s 1920s and early 1930s animation, it created a world in which “there is no fixed order of things: the world is plastic to imagination and will” (1994, 200).
Bordwell, David, Staiger, Janet, & Thompson, Kristin. (1985). The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. New York: Columbia University Press. ). (1988). The BFI Companion to the Western. London: BFI Publishing. Cook, David. (1996). A History of Narrative Film. New York: W. W. Norton. Crafton, Donald. (1997). The Talkies: American Cinema’s Transition to Sound 1926–1931. New York: Charles Scribner’s Sons. SETTING THE STAGE: ORIGINS TO 1928 Fielding, Raymond. (1972).
By 1910, as the MPPC attempted to extend its control over distributors by absorbing affiliated exchanges into the Trust-controlled General Film Company, opposition to its policies only increased. Rival companies excluded from the MPPC took advantage of the expanding marketplace and the Independent movement ultimately flourished, matching the Trust in size and even in achievement by the time Griffith left Biograph in 1913. But in 1910, Biograph was securely positioned as an industry leader (along with Vitagraph); Griffith’s cameraman, Billy Bitzer, recalled that “the little independent companies would quickly copy anything we did that the public seemed to favor” (1973, 52).