Encyclopedia of Early Cinema(Part S) .pdf
《Encyclopedia of Early Cinema(Part S) .pdf》由会员分享,可在线阅读,更多相关《Encyclopedia of Early Cinema(Part S) .pdf(91页珍藏版)》请在三一文库上搜索。
1、 S saloons Located on street corners, on the ground floor of tenements, close to factories and businesses, saloons were the most common “poor mans clubs” before the emergence of moving pictures. They provided an inexpensive space for informal socialization and homosocial, even rowdy, camaraderie. In
2、 addition, in contrast to other working-class social venues (fraternal societies, mutual benefit associations, and barber shops), saloons offered much-sought alcoholic indulgences, the favorite medicine among low-wage earners against the frustrations of poverty, toil, and lifes insecurities. For imm
3、igrants, they also constituted a space to gather information to find jobs or to better their adjustment in the New World. For other Americans, however, saloons were vice resorts, a repository for addiction, crime, gambling, and prostitution. In the 1890s, civic groups, moral reformers and religious
4、organizations formed the Anti-Saloon League and mounted fierce anti-drink campaigns. What these crusades indeed displayed were broader anxieties over the rising commercialization of working- class leisure time, occurring in such public venues as melodrama theaters, vaudeville houses, dance halls, am
5、usement parks, and eventually nickelodeons. With the progressive rationalization of industrial labor, drinking (on and off the job) was to be banished. The saloon became a designated target. Furthermore, population changes and the continued increase in movie houses undermined the traditional neighbo
6、rhood barroom. Moving picture theaters could draw the casual passerby and provide a gender- blind form of entertainment that suited the temperance-inspired middle-class preference for family amusements. In reaction, a few older establishments turned into cabarets, employing scantily dressed female d
7、ancers, while others opened dance floors or added live entertainment on small stages. In a few cases, barkeeps bought nickelodeons in adjoining building to control both businesses. For instance, in Chicago, writes Perry Duis, in 1910 “saloonkeeping was the largest occupational group of those enterin
8、g the theater business.” Following a long but recently revamped tradition of songs and plays praising abstinence, moving pictures sought to persuade the anti-drink movement that movie- going was respectable and edifying. In so doing, the film industry, aided by the trade press, could achieve various
9、 goals. It could present itself publicly as the “substitute for the saloon”Vachel Lindsays famous phraseand sponsor middle-class values of work efficiency and home-centered family life, while also defeating the contemporary and just as morally righteous antifilm factions. D.W.Griffiths A Drunkard Re
10、formation Encyclopedia of early cinema 812 (1909), symptomatically among the first films to pass the National Board of Censorship review, neatly illustrates this prohibitionist agenda. Furthermore, Griffiths film and others contributed to the emerging genre of realist, didactic melodramas regularly
11、reviewed as “sermons in film.” The combination of moral lesson and narrative advancements, specifically the rendering of characters psychological growth and moral reformation through editing practices, was for cinema ideologically rewarding and aesthetically self-conscious. Moving pictures could be
12、differentiated from the debauchery of saloons and beer halls and at the same time gain narrative texture and aesthetic legitimacy. Further reading Cumbler, John T. (1979) Working-Class Community in Industrial America: Work, Leisure, and Struggle in Two Industrial Cities, 18801930, Westport, CT: Gree
13、nwood Press. Duis, Perry R. (1983) The Saloon: Public Drinking in Chicago and Boston, 18801920, Urbana: University of Illinois Press. Jon M.Kingsdake (October 1973) “The Poor Mans Club: Social Functions of the Urban Working Class Saloon,” American Quarterly, 25: 472489. Peiss, Kathy (1986) Cheap Amu
14、sements: Working Women and Leisure in Turn-of- the-Century New York, Philadelphia: Temple University Press. Rosenzweig, Roy (1983) Eight Hours For What We Will: Workers and Leisure in an Industrial City, 18701920, Cambridge: Cambridge University Press. GIORGIO BERTELLINI Salvation Army From 1891, th
15、e Limelight Department of the Salvation Army (based in Melbourne) presented lectures illustrated by lantern slides and then, from 1897, by moving pictures. A studio was built in 1898, with Joseph Perry as chief technician. The Department produced mainly nonfiction films including government commissi
16、ons for productions such as The Inauguration of the Commonwealth and Royal Visit to Victoria (both 1901). For a decade, it was the largest film producer in the country. Although a new studio was built in 1908, the Salvation Army decided to curtail production, and the Department disbanded in 1910. IN
17、A BERTRAND Sandberg, Serge b. 1879; d. 1981 Entries A-Z 813 distributor, exhibitor, entrepreneur, France A Lithuanian Jew who emigrated to France in 1900, Sandberg managed many of the sales agencies that Path-Frres opened in central and eastern Europe. In 1907, he founded one of a half dozen Path af
18、filiates set up to rent and exhibit the companys films and made a fortune in the new cinemas of the Loire region. Becoming a French citizen in 1912, Sandberg served in the armys cinematographic unit during World War I. After the war, he and Louis Nalpas attempted to build a consortium of companies,
19、including the Socit des Cinromans (for producing serials), La Victorine studios (constructed near Nice), SIC clair (for distribution), and his chain of cinemas. Compromised by the 1921 financial crisis, Sandberg was forced to sell his interest in Cinromans to Jean Sapne in 1922. RICHARD ABEL Sandow,
20、 Eugen(e) Friedrich Mller b. 1867; d. 1925 performer, Germany, USA A German strongman promoted as “the perfect man” and “the strongest man in the world.” After establishing himself in Europe, he came to the USA under the management of Oscar Hammerstein in June 1893. Following a stint at the Chicago
21、worlds fair, he performed at Koster d. 1937, Pelotas, Rio Grande do Sul, Brazil filmmaker, Brazil A regional film pioneer, Santos learned the trade filming throughout the Mediterranean region. Once in Brazil, he entered the theatrical world and toured widely. He settled in Rio Grande do Sul and foun
22、ded Guarany Films in 1912. The company produced actualits, news event films, and short fiction films, most notably, the charming comedy, Os culos do vov Grandfathers Glasses (1913), the earliest extant Encyclopedia of early cinema 814 Brazilian fiction film. Its feature-length re-enactment, O crime
23、dos banhados The Crime of the Bathers (1913), was extraordinarily successful. Unable to sustain production, however, Guarany Films focused on the exhibition sector, where it was a regional leader until the 1940s. ANA M.LPEZ Santos, Silvino b. 1886, Sernache do Bonjardim, Portugal; d. 14 May 1970, Ma
24、naus, Brazil filmmaker, Brazil A photographer by trade, Santos settled in Manaus at the peak of the Amazonian rubber boom in the early 1900s. Commissioned by various “rubber barons,” he photographed and, after 1913, filmed extensively throughout the entire Amazonian region. Working under arduous con
- 配套讲稿:
如PPT文件的首页显示word图标,表示该PPT已包含配套word讲稿。双击word图标可打开word文档。
- 特殊限制:
部分文档作品中含有的国旗、国徽等图片,仅作为作品整体效果示例展示,禁止商用。设计者仅对作品中独创性部分享有著作权。
- 关 键 词:
- Encyclopedia of Early CinemaPart S Cinema Part
链接地址:https://www.31doc.com/p-3755756.html