Encyclopedia of Early Cinema(Part P) .pdf
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1、 P Pagano, Bartolomeo or Maciste b. 1878; d. 1947 actor, Italy Born in the region of Liguria, Bartolomeo Pagano was working in the docks of Genoas harbor when Giovanni Pastrone, impressed with his muscular physiognomy, chose him for the leading role of Maciste in Cabiria (1914), the ground-breaking
2、spectacular film which so influenced D.W.Griffith in making Intolerance (1916). After such a successful beginning, Maciste became the protagonist of a series of films, from Maciste (1915) and Maciste Alpino Maciste in the Mountains (1916) to Maciste allInferno Maciste in Hell (1926), throughout whic
3、h he played a good giant who protects and helps those who are weak or down-trodden, while keeping himself out of trouble and embodying the best patriotic values. ANGELA DALLE VACCHE PAGU/AKGT The Allgemeine Kinematographen-Theater Gesell-schaft (AKGT), founded in Frankfurt/Main in 1906 by Paul David
4、son, ran the biggest cinema chain in Germany by 1910. Profits from its Union-Theater (U.T.), sited in prime locations in Berlin and other regional industrial centers, allowed it to expand into theater equipment supply, production, and distribution under the new name, Projektions-AG “Union” (PAGU) in
5、 1910. Between 1910 and 1912, when AKTG was liquidated, attendance in U.T. cinemas rose from 2.5 million to 6 million, proof of PAGUs success in widening its audience appeal to include upper middle-class tastes with luxury theater design and feature films. In 1913, PAGU moved operations to Berlin an
6、d opened new production facilities in Berlin-Tempelhof, specifically to produce films starring Asta Nielsen, which it had distributed exclusively since 1911. In 1914, PAGU bought Vitascope and hired Ernst Lubitsch, eventually its most successful director. THOMAS ELSAESSER Entries A-Z 709 painting an
7、d the visual arts The complex relationship of painting to early cinema can be summarized under three main headings. First, and most generally, paintings served as important sources for costumes, set design, and the overall style of many historical subjects, as they had long done in the theater. Then
8、, more specifically, a number of early films can be interpreted as “realizations” of well-known or generic paintings. Finally, a third relationship arose from the changing representation of the artist as protagonist. Beyond these, there are also broader questions of how moving pictures found their p
9、lace within a culture already saturated with visual images, where painting still occupied a preeminent place; and the related issue of how painters and the audience for the visual arts related to the new medium during its first two decades. A first response to the moving image for some commentators
10、was to compare it to recent styles of painting, although not as a compliment. The Russian writer Maxim Gorky evoked the “soundless shadow of movement” in a famous article of 1896, before joking that he might be suspected of Symbolism, in a reference to the newly fashionable school of poetry and pain
11、ting, popularly believed to specialize in morbid and supernatural subjects. In the same year, an English art critic compared moving pictures with the distinctive painting of a Victorian group: “both the cinematograph and the Pre-Raphaelite suffer from the same viceboth are incapable of selection.” H
12、owever derisory, these references convey the sense of a new way of picturing the world and also of the modishness of moving pictures that offended some. The reference to the Pre-Raphaelite group of painters that included Dante Gabriel Rossetti, William Holman Hunt, and John Everett Millais also serv
13、es to recall how central a certain kind of moralizing narrative painting had become during the 19th century. A painting such as Hunts The Awakening Conscience (1854), in which a woman rises from sitting on a mans lap as if inspired, could provoke extended public discussion as to the moral and dramat
14、ic meaning contained in this emblematic moment. Even more relevant to early moving pictures were the picture series, such as George Cruickshanks The Drunkards Children (1848) or William Friths The Road to Ruin (1878), widely available as prints and magic lantern slides, which taught viewers to “read
15、” narrative across the individual pictures that marked its decisive stages. Such habits of interpretation were well ingrained by the time moving picture producers started to consider what subjects would interest their patrons. Many early films were derived indirectly from famous paintings that alrea
16、dy had passed through the Victorian chain of reproduction. Millaiss chivalric fireman in The Rescue (1855) had become “Bob the fireman” in a lantern slide set before emerging as the rescuer hero of James Williamsons Fire! (1901). Similarly, the various “Life of Christ” films produced in the USA and
17、France between 1897 and 1906 all drew directly or indirectly on the painterly tradition of depicting Biblical episodes. Leonardo da Vincis Last Supper (1498) inevitably influenced the realization of this scene, along with many classic crucifixion paintings; but the most consistently used source was
18、undoubtedly Jacques Joseph Tissots comprehensive illustration of the Bible, published between 1896 and 1904 on both sides of the Atlantic. This curious combination of evocative first-hand observation and maudlin religiosity would leave its mark on later “religious” and biblical Encyclopedia of early
19、 cinema 710 films. Another widely popular subject was the Faust story, and in particular the figure of Mephistopheles, which appears in the catalogues of Edison, Lumire, Robert Paul and Georges Mlis. Here the cultural impetus may well have come initially from the popularity of Charles Gounods opera,
20、 or from Henry Irvings long-running stage production, but the main iconographic source for the central characters costumes and appearance seems to have been Eugne Delacroixs illustrations of Johann Wolfgang von Goethes Faust, made in 18281839 (and approved by the author). By 1909, when Vitagraph lau
21、nched its very successful Life of Moses, it had become sound business practice to advertise the range of painterly sources, which in this case were said to include: “Tissot, Grme, Gustav-Dor sic, Edwin Austin Abbey, Briton Reviere, Sir Lawrence Alma-Tadema, R.A.Joseph Israel and Benjamin Constant.”
22、The mere mention of names that were both resonant and approved (even if many are now forgotten by art historians) became an index of the “quality,” and in this case propriety, that Vitagraph. sought. Of these artists, Jean-Lon Grmes two Roman amphitheatre paintings, The Christian Martyrs Last Prayer
23、 (1863) and Pollice Verso (1874), and Alma-Tademas intimate scenes of Roman high life, such as Silver Favorites (1903) and Her Eyes Are with Her Thoughts (1907), would remain highly influential among all filmmakers engaged in re-creating the ancient world, from the Italians to Cecil B.DeMille. Simil
24、arly, Dors illustrated books and the Mediterranean and Middle Eastern landscapes of David Roberts became pervasive, if often unacknowledged, sources for atmospheric settings and lighting schemes. Painting could also play a more central role in early cinema. At the beginning, when moving pictures wer
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