Encyclopedia of Early Cinema(Part N) .pdf
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1、 N Nalpas, Louis b. 1884; d. 1948 distributor, producer, France Born in the Greek community of Smyrna (Turkey), Nalpas arrived in Paris in 1909 to deal in film exports for AGC. In 1911, he began working for Film dArt and became its director when Charles Delac was drafted in 1914. His most notable pr
2、oductions included Henri Pouctals Alsace (1916) and Abel Gances early films. After he left Film dArt early in 1918, Nalpas settled in Nice and produced Ren Le Somptiers La Sultane de lamour (1919) and the Serpentin comic series with Marcel Lvesque. Dreaming of a Hollywood on the Riviera, he built th
3、e Victorine studios in 1919, with the financial backing of Serge Sandberg. Nalpas is best known, however, as head of serials production at Cinromans during the 1920s. THIERRY LEFEBVRE Napierkowska, Stacia b. 1886; d. 1945 dancer, actor, France, Italy Originally trained as a dancer, Napierkowska (Ren
4、e Claire Angele Napierkowski) performed at various Parisian music halls, where she was noticed by Andr Antoine, the Thtre Libre director who had just fired Mata Hari (who soon entered history as a spy). Antoine hired Napierkowska for an arabesque in Anthar, an “orientalist” production that had an am
5、azing success. Mistinguett saw her performance and got her a role in Film dArts LEmpreinte Imprint (1908). Napierkowskas film roles tended to exploit her fame as a dancer, as in Andr Capellanis Notre Dame de Paris (1911), Louis Feuillades Les Vampires (1915), and Germaine Dulacs Venus Victrix (1918)
6、. During World War I, however, she acted in at least twenty Italian films. Aging and overweight, her last role as Antinea in Jacques Feyders LAtlantide (1921) was far from successful. ANGELA DALLE VACCHE Encyclopedia of early cinema 670 Natan, Bernard (previously Tanenzapf, Nathan, and Natan, Thodor
7、e) b. 1886; d. 1942, Auschwitz, Poland manufacturer, producer, France In 1909, three years after arriving in Paris from Romania, Bernard Natan and two associates founded Cin-Actualits, a small general partnership company involved in a variety of moving picture work. In January 1911, he was sentenced
8、 to four months in prison for an “outrage to public decency,” an incident that was to serve as an excuse for a violent anti-Semitic campaign against him in the 1930s. In 1913, he set up the Rapid- Film laboratory in Paris; in 1914, he launched a newsreel, Cin-Gazette. A volunteer during the war, lat
9、er decorated with the Military Cross, Natan saw his name cleared in late 1919 and became a French citizen in 1921. In 1924, he transformed Rapid-Film into a public limited company (socit anonyme) and set up Rapid-Publicit; two years later he built Studios Runis in conjunction with Productions Natan,
10、 the producer notably of Marco de Gastynes La Merveilleuse Vie de Jeanne dArc The Marvelous Life of Joan of Arc (1929). By 1929, the Natan group had merged with Path Cinma, and Natan became the head of the new entity. JEAN-JACQUES MEUSY National Board of Censorship The National Board of Censorship w
11、as the chief self-regulatory body of the US film industry in the early 1910s. Concerned about increasing governmental control over film exhibition, industry leaders agreed to submit their films to a Board of Censorship formed in March 1909 by the Peoples Institute, a respected Progressive organizati
12、on. Boxing films, white slave films, and birth control films received particular scrutiny from the Board. But with no legal authority, the Board struggled for jurisdiction with police agencies as well as state and local censorship commissions. Changing its name to the National Board of Review in 191
13、6, the organization ultimately turned its energies towards classifying films. SHELLEY STAMP Natural Color Kinematograph Charles Urban established Natural Color Kinematograph in London, in March 1909, to exploit the Kinemacolor process in Great Britain. Owing to the particular nature of its Entries A
14、-Z 671 color process, the company mostly produced actualits, news films and travelogues, often of a spectacular nature, such as the coronation of George V or the subsequent Delhi Durbar ceremonies in India. Fiction film production, with F.Martin Thornton and Theo Bouwmeester as directors, was hamper
15、ed by the difficulties of using Kinemacolor in a studio, but still more by poor filmmaking. The company went into voluntary liquidation in 1914, following a court case which invalidated the Kinemacolor patent, and its business for a short while was taken over by another Urban company, Colorfilms. LU
16、KE McKERNAN Navarre, Ren b. 1883, Paris; d. 1968, Paris actor, producer, France Ren Navarre became famous for his starring role in Louis Feuillades crime film, Fantmas (1913). He started his acting career with Gaumont in 1910, where his collaboration with Feuillade soon earned him an annual contract
17、. After accompanying Feuillade to Spain in August 1914, Navarre left Gaumont to found his own production company in 1916. In October 1919, he created the Socit des Cin-Romans, in partnership with Serge Sandberg and Jean Sapne, to produce a regular schedule of serials. A popular actor in the 1910s, N
18、avarre embodied a successful instance of the career change from actor and star to film producer. FRANOIS DE LA BRETQUE Negroni, Baldassarre b. 1877; d. 1945 director, Italy Beginning in 1911 at Cines as a cameraman and scriptwriter, Negroni soon developed into an important and imaginative director a
19、t Celio Film. To enforce a perfect sound synchronism during exhibition, he shot the French pantomime, Histoire dun Pierrot Pierrot the Prodigal (1914), starring Francesca Bertini and Emilio Ghione, at the rhythm of the accompanying music. While at Milano Films between 1914 and 1915, Negroni complete
20、d a dozen films, mostly aristocratic love melodramas and adventure stories, featuring the diva Hesperia, his soon-to-be wife. She later followed him to Tiber Films (19151921). GIORGIO BERTELLINI Encyclopedia of early cinema 672 Nepoti, Alberto b. 1876; d. 1937 actor, director, Italy Nepoti began his
21、 acting career in 1909 at Film dArte Italiana, working with Gerolamo Lo Savio and Ugo Falena. At Savoia Film in 1912, and under the direction of Nino Oxilia, he starred with Maria Jacobini in Il cadavere vivente The Living Cadaver (1913) and Il focolare domestico Family Life (1914). At Savoia he als
22、o co-directed Satanella Mephistophelia (1913), with Ubaldo Maria Del Colle. Typecast as the “rival lover,” he achieved celebrity through such aristocratic melodramas as Giovanni Pastrones Tigre Reale Royal Tigress (1916) and LaTrilogia di Dorina Dorina (1917), both starring diva Pina Menichelli. GIO
23、RGIO BERTELLINI Netherlands, the Soon after 1896, when Dutch audiences first encountered them, moving pictures became a regular variety act in music hall programs and the principal attraction of itinerant exhibitors in the fairs/fairgrounds. Permanent theaters appeared in city centers beginning in 1
24、907, the same year Path-Frres transformed the market by shifting from selling to renting films. Exhibition and distribution dominated Dutch film activity from the start. Film production remained a gentlemans hobby and did not become a widespread profession as in France, Denmark, Italy, or Germany. T
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