Encyclopedia of Early Cinema(Part T) .pdf
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1、 T Tachibana Teijiro b. 1893; d. 1918 actor, Japan Born in Tokyo and trained as an oyama (a kabuki actor specializing in female roles) when still a child, Tachibana joined a new-school drama troupe and gained his reputation by the age of twelve. He first entered the moving picture industry in Novemb
2、er 1909, and appeared in the films of Yoshizawa Shoten and M.Pathe. After the Nikkatsu trust was formed in 1912, he joined its Tokyo unit, which specialized in making new-school dramas, and soon became the best oyama performer in the company. As physically fragile as he looked, he died young. HIROSH
3、I KOMATSU Tally, Thomas Lincoln b. 1861; d. 1945 exhibitor, distributor, USA Thomas Tally pioneered moving picture exhibition in Los Angeles in 1902 when he opened his Electric Theater, later the Lyric. Already in the summer of 1896, however, Tally managed a phonograph parlor offering both Kinetosco
4、pe films and the Vitascope for projected moving images. The latter attraction had previously been launched at the local Orpheum Theater. By the early 1910s, Tally was the unrivaled exhibitor in Los Angeles, in command of several spectacular, state-of-the-art moving picture theaters; he also managed
5、a licensed exchange. Later on, he was one of the organizers of First National Exhibitors Circuit. He retired in the early 20s, only to return to exhibition by acquiring the Criterion Theater. See also: nickelodeons JAN OLSSON Entries A-Z 903 Talmadge, Norma b. 1897; d. 1957 actor, USA Cast mostly as
6、 an ingenue during her first few years at Vitagraph, Talmadge graduated to lead roles by 1913 and became the companys biggest star from then on (her career rise coincided with Florence Turners departure). Although often decorous in her early performances, she became more versatile in her Triangle fi
7、lms of the late teens, developing into a commanding screen presence, renowned for her beauty and fashion sense. Her marriage to industry executive Joseph Schenck in 1917 proved mutually beneficial, as he produced many of the melodramas which gained her even greater fame into the 1920s. CHARLIE KEIL
8、Tanaka Eizo b. 1886; d. 1968 filmmaker, Japan Trained in the European-influenced, naturalist shingeki theater, Tanaka entered Nikkatsu in 1917, at a time when the more old-fashioned, melodramatic shinpa style dominated the conservative companys Tokyo productions. Early works such as Ikeru shikabane
9、The Living Corpse (1918) revealed innovative uses of film form, but met with resistance from benshi and others. Kyoya eriten The Kyoya Collar Shop (1922) and Dokuro no mai The Skull Dance (1923), both based on original scenarios, helped shape the social realism that would eventually become the compa
10、nys style. Tanaka later became an educator. AARON GEROW Tannenbaum, Herbert b. 1892; d. 1958 theorist, Germany In the midst of the debates in Germany about cinemas social and aesthetic value sparked by its rivalry with theaterTannenbaum published a 36-page monograph on Kino und Theater (Film and The
11、ater) (1912), which is generally considered to be Germanys most systematic theoretical essay on film before World War I. Grounded in Aristotelian standards of unity, it anticipates later important statements by Hugo Encyclopedia of early cinema 904 Munsterberg, Rudolf Arnheim, and Bla Balzs in its d
12、iscussion of film acting and direction. In 1913, Tannenbaum finished his doctoral dissertation on film and copyright, one of the very few pre-war dissertations dedicated to film (see also Emilie Altenloh). SCOTT CURTIS Taylor, Alma and White, Chrissie b. 1895/1895; d. 1974/1989 actors, Great Britain
13、 From 1910 to 1923, Alma Taylor and Chrissie White were the best known actors of the Hepworth Manufacturing Company. They featured in eighteen Tilly films, with Taylor playing Tilly and White, her friend Sally. Cecil Hepworth himself was very proud of this successful comic series. “the great aim and
14、 object in these Tilly girlswas to paint the town extremely red, and the joyfully disarming way in which they thoroughly did it was their great charm” A surviving example is Tilly and the Fire Engines (1911), which parodies a typical fire rescue narrative, with the comic duo stealing a fire engine a
15、nd using the hose to soak the hapless firemen. In all, Taylor featured in over 140 films from 1909 to 1957, was referred to as “the English Mary Pickford,” and dominated Hepworths last feature films, Tansy (1921) and Comin Thro the Rye (1923). White married her fellow Hepworth player, Henry Edwards
16、(18821951), and appeared in over 90 films from 1909 to 1930, including Blood and Bosh (1913). Throughout the 1910s, both Taylor and White were promoted in fan magazines, postcards, and cigarette cards as Britains first major film stars. Further reading Burrows, Jon (2003) Legitimate Cinema: Theatre
17、Stars in Silent British Films 19081918, Exeter: University of Exeter Press. FRANK GRAY Tenkatsu Tenkatsu was formed in March 1914 in response to the emergence of the Nikkatsu trust in 1912. Subsequently, it became the latters major rival until 1919, when it dissolved. Like Nikkatsu, Tenkatsu had two
18、 production units: Old-school dramas were made in the Tokyo studio; new-school dramas, in the Osaka studio. Tenkatsu originated as a company that produced films using the Kinemacolor system. However, with the outbreak of World Entries A-Z 905 War I, this enterprise quickly failed. After that, Tenkat
19、su produced conventional old- school and new-school films until the end of the 1910s. HIROSHI KOMATSU Thailand (Siam) As in many other non-industrial countries, cinema was introduced and popularized in Thailand (called Siam until 1939) largely by foreigners and the upper classes or aristocracy. Inde
20、ed the first Thai to have any experience of film production and exhibition was the monarch, King Chulalongkorn (who reigned as Rama V, 18681910), when he was filmed during visits to Switzerland and Sweden in May and July 1897, and then swiftly afterwards was shown his own moving images on screen. Ch
21、ulalongkorn was one of the great modernizing monarchs of the end of the 19th century, bringing many western customs and technologies to his countrySiam was one of the few nations in Southeast Asia not to be colonizedincluding automobiles and photography. His interest in cinema was taken up by anothe
22、r aristocrat, Prince Suphakit, who imported a film camera in 1900 and used it to record royal events. It was the upper classes who made up the first audiences for moving pictures in Thailand, when, from June 1897, a number of short films were screened by a traveling showman of unknown origin, S.G.Ma
23、rchovsky. After this, the country apparently had to wait until 1903 for films to be shown in Bangkok by several foreign companies, including the American Edison Cinematograph Company (named, like so many early film shows, after Thomas Edison). The following year another foreign concern, run by a Jap
24、anese, Watanabe Tomoyori, exhibited films in the city for several months. Watanabe returned in 1905 and set up Thailands first permanent cinema, mainly showing films manufactured by Path-Frres. Watanabes success encouraged others to enter the exhibition business during the following three years, inc
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