Encyclopedia of Early Cinema(Part O) .pdf
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1、 O Oceania/South Pacific Moving pictures first arrived in the islands of the Pacific through film production rather than exhibition, and Hawaii, which had been annexed by the USA in 1898, was the first island group to greet filmmakers. E.Burton Holmes and Oscar Depue shot scenic views and local agri
2、culture in 1899, and they were followed by cameraman Robert K.Bonine who later established himself permanently in Hawaii as a filmmaker. By 1907, Leopold Sutto (traveling on the same boat as writer Jack London) was filming the Solomons and other islands for Path-Frres. In 1912, a local Tahiti photog
3、rapher, Maxime Bopp du Pont, began shooting films, and early in 1913 an expedition under Gaston Mlis (brother of Georges Mlis), with a company of actors and two cameramen, spent a month filming on the island. The Mlis company found film exhibition flourishing in Tahiti, with two large cinemas in the
4、 capital, Papeete, and another seven elsewhere on the island. Moving pictures had caught the publics fancy in French Polynesia, and by 1914 there were four cinemas in Papeete (largely financed by the Vicomte de Giron). Moving pictures also prospered on other islands in the Pacific, and Hawaii was ag
5、ain in the vanguard. As early as 1908 there were five nickelodeons in Honolulu, and five or six more on other islands of the group by the following year. In 1915 Photoplay reported that there were no fewer than 35 moving picture theaters in Honolulu alone. While some audience segmentation was occurr
6、ing by the end of this period, generally the audiences who attended Hawaiian shows were mixedAmerican (white), Hawaiian, Chinese, Japanese. A comparable audience diversity seems to have been the case on some other Pacific islands. The British protectorate of Fiji first enjoyed film shows in 1909, an
7、d by 1910 an Australian showman, Arthur Guest, was touring films to mixed Fijian and Hindu audiences. By 1913, there were three modern cinemas on the island, running T.J.West, Cozens Spencer, and Gaumont programs respectively, with the films distributed from Sydney. In Samoa, too, film prints came f
8、rom Australia; by 1912, a local company was giving three shows a week there. All kinds of films were screened, but the island peoples evinced particular interest in nonfiction films, especially those of impressive foreign technology, such as huge locomotives and other machines. Cinemas in Tahiti wer
9、e so popular by 1913 that the authorities kept them closed three nights of the week so they would not take over island life completely. Some accounts, from Guam, for example, say that moving pictures even acted as a spur for local people to earn extra money to pay for cinema tickets. But in Encyclop
10、edia of early cinema 700 certain regions the colonial authorities considered films which showed fighting and shooting to be demoralizing for the population, and by 1914 there was talk of censorship. See also: colonialism: Europe; imperialism: USA Further reading “Hawaiian shows” (1909) Film Index, 2
11、3 January: 12. “Weekly Notes” report from Fiji (1910) Kinematograph and Lantern Weekly, 1 September: 1065. STEPHEN BOTTOMORE Olcott, Sidney (John Alcott) b. 1872; d. 1949 actor, scriptwriter, director, USA Initially an actor at Biograph, Olcott gained prominence as Kalems first filmmaker (19071912),
12、 directing the original Ben Hur (1907). He was an energetic, prolific pioneer of on-location shooting abroad, in Ireland (with popular, often political films), the European continent, and the Middle Easte.g., From the Manger to the Cross (1912). A dispute over Manger led to formation of the Gene Gau
13、ntier Feature Players (1912 1914). After releasing films independently (“Sidfilms”), he signed with Famous Players in 1915; later he worked for Goldwyn and Paramount. A recognized talent, he directed major silent stars such as Mary Pickford and Rudolph Valentino until his retirement in 1927. GRETCHE
14、N BISPLINGHOFF Oliver, David b. ?; d. ? exhibitor, distributor, producer, Germany An migr from Galicia and an exhibitor since 1905, Oliver became co-director of Nordisks German subsidiary, Nordische Films, in 1906, which he built into one of the countrys largest distribution companies before 1917. A
15、fter the outbreak of World War I, Oliver restructured Nordische into a horizontal group of production and distribution companies, including his own Oliver Films (established in April 1915), all feeding into Nordisches distribution network. At the same time, operating independently with his own capit
16、al, he pushed the companys vertical integration by acquiring the Union Theater chain from PAGU and merging it with his own theaters to form Union-Theater Ltd. Due to its Danish origins, Nordische frequently was the target of hostile nationalist rhetoric Entries A-Z 701 and, in 1918, finally was merg
17、ed into uFA, whose theater and distribution division Oliver then managed. After serving as a board member of Decla-Bioscop, he began working as a real estate agent and became involved in financing and supervising some of the most prestigious cinema construction projects in 1920s Germany. MICHAEL WED
18、EL Olsen, Ole b. 1863; d. 1943 producer, Denmark Olsen, who came from a very poor rural background, became a successful fair/fairground showman in the late 1880s. In 1905, he opened a moving picture theater in Copenhagen; the following year, he founded the production company Nordisk and quickly led
19、it to international prominence. He became famous as Denmarks only real film tycoon and pulled off various Barnum-like publicity stunts, as when he turned the shooting of the shipwreck scenes for August Bloms Atlantis (1913) into a major media event. He sold his Nordisk stock in 1914, but remained he
20、ad of the company until 1922, when stockholders, concerned by Nordisks financial difficulties, finally pushed him aside. CASPAR TYBJERG Omegna, Roberto b. 1876; d. 1948 cameraman, director, Italy A cousin of Guido Gozzano, one of Italys major poets and a part-time scriptwriter, Omegna was a successf
21、ul film exhibitor in Turin by 1901. Three years later, he was making actualits with Arturo Ambrosio and soon was made the head technician and nonfiction filmmaker at Ambrosio Film, where he worked until 1923. The director and technical supervisor for more than sixty fiction films, Omegna gained real
22、 fame for his ethnographic films of Asia, Africa, and Latin America (often completed with Giovanni Vitrotti) and his scientific films about insects, plants, and minerals. GIORGIO BERTELLINI Encyclopedia of early cinema 702 Onoe Matsunosuke b. 1875; d. 1926 actor, Japan After joining a touring theatr
23、ical troupe in 1889, Onoe became acquainted with Makino Shozo and played on the stage of the Senbonza theater in Kyoto, where Makino directed. Together with Makino, he entered Yokota Shokai in 1909. As a star of the old- school drama, he appeared on average in one film per week. His acting style and
24、 his patented facial expressions often were imitated in childrens plays. Because of their status as childrens entertainment, Onoes films were always regarded as a form of lowbrow spectacle by the cultural elite. HIROSHI KOMATSU opera Opera and moving pictures quickly established a fruitful relations
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