Encyclopedia of Early Cinema(Part V) .pdf
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1、 V Valentin, Karl b. 1882; d. 1948 actor, Germany The greatest German comedian of the first half of the twentieth century, Valentin made only a handful of films in the silent era, opting instead to focus his energies on his improvisational, Bavarian-flavored variety act with his wife, Liesl Karlstad
2、t. Yet films such as Der neue Schreibtisch The New Writing Desk (1914), in which the height of a desk is adjusted until there is nothing left, testify to Valentins uncomfortable and almost nihilistic relationship to inanimate objects, technology, and his own body, an attitude that became popular wit
3、h Dadaists and the middle class alike. SCOTT CURTIS Valetta After a fruitful collaboration with Path-Frres from 1908 to 1911, Camille de Morlhon founded his own company, Valetta, in July 1912, choosing as its emblem the family coat of arms. For the next ten years, Valetta produced all of de Morlhons
4、 films, with the support of Paths distribution. His initial innovation was to shoot two films at the same time, casting the same actors in primary roles, even when that involved traveling to the south of France. Yet he soon resumed sequential production in order to shoot fewer but longer and more co
5、mplex social dramas. Une Brute humaine A Human Beast (1913), remains a landmark: exceptionally long for the time (1950 meters), it sold 200 prints worldwideas many as Albert Capellanis Les Misrables (1912). After a hiatus caused by World War I, Valetta resumed production in March 1915, with de Morlh
6、on producing and directing four films a year until 1917. When he began fighting for authors rights, in opposition to Charles Path, the company became dormant, eventually closing down in 1923. Encyclopedia of early cinema 966 Further reading Le Roy, Eric (1994) “Les relations entre Charles Path et Ca
7、mille de Morlhon: de lunion au dsaccord,” in Jacques Kermabon (ed.) Path, premier empire du cinema, 19095, Paris: Editions Centre Georges Pompidou. ERIC LE ROY Van Goitsenhoven, Louis b. 1874; d. 1942 exhibitioner, producer, distributor, Belgium Before Van Goitsenhoven opened the first permanent mov
8、ing picture theater in Brussels in December 1904, he worked as a businessman selling optical products, phonographs, and rubber tires. From 1907 on, he opened more and more theaters in order to receive optimal profits from the films he purchased. After 1908, he also became a film distributor, and a p
9、articularly important one by the end of World War I. GUIDO CONVENTS Vandal, Marcel b. 1882, Paris; d. 1965, Le Perreux industrialist, producer, France Marcel Vandal was one of the first shareholders of clair (Socit franaise des films lclair) which his friend and fellow lawyer, Charles Jourjon, found
10、ed in 1907. That same year, he became co-director of the company with Jourjon. He also took part (still with Jourjon) in establishing the Union des grands diteurs de films in 1911. While mobilized during World War I, Vandal was replaced in his duties by Perreau Auguste Agnel; when he returned, clair
11、 was almost moribund. In 1918, Vandal left clair to create (with Charles Delac) a combined company out of Film dArt and Socit gnrale de cinmatographie, and then went on to produce many films during the 1920s and the 1930s. LAURENT MANNONI Entries A-Z 967 vaudeville As the preeminent site in the USA
12、for the exhibition of projected moving pictures prior to the nickelodeon era, the vaudeville theater significantly influenced the course of cinema history. The nickelodeon boon had a consequential impact on vaudeville due to a subsequent rise in numbers of small-time vaudeville theaters that proved
13、a challenge to the vaudeville establishment. Threatened by a burgeoning feature film movement in the early 1910s, vaudeville managers invested heavily in talking pictures and when that endeavor failed, sought to cordon off their entertainment domain through a blacklist of actors appearing in films.
14、Ultimately, when sound film and radio became the nations dominant entertainment forms, those new corporate interests acquired the remnants of once-great vaudeville empires. Vaudeville and moving pictures reflected a number of cultural proclivities found in late 19th-century urban recreational instit
15、utions. Both have been identified as “democratic” in essence and “American” in spirit. Proponents of both adopted a rhetoric of refinement, respectability, and progress to promote entertainment forms frequently depicted as “low” and vulgar. By attracting women, children, mixed social classes, and im
16、migrants, both embodied a wider cultural shift from homosocial to heterosocial leisure activities. Not only did both encourage habits of spectatorship that exposed new city dwellers to urban consumer culture, but they also displayed hybrid sensibilities that accommodated Victorian and modern attitud
17、es. Both also were marked by racial segregation, discrimination, and stereotyping. Both eventually came to be structured as oligopolies, adopted modern business methods, and valued innovation as a competitive strategy. On occasion both functioned to provide public arenas where national issues were a
18、ddressed. In its heyday, vaudeville had some 1,000 theaters across the USA. A 1910 study of New York theaters claimed 60% of the vaudeville audience to be working-class and 36% clerical. The estimated number of vaudeville actors during the industrys peak period ranged from 20,000 to 30,000, although
19、 jobs seemed to be available for only half as many. Beginning approximately in 1907, vaudeville theaters were classified as either “big time” or “small time,” depending on the number of shows per day, admission price, salaries, and whether headliners appeared regularly. Performers strived to reach t
20、he “big time,” with success often symbolized by a booking at the foremost venue, New Yorks Palace Theatre. As a distinct form of entertainment, vaudevilles most characteristic traits were its modular format, its attempt to appeal to a diverse audience, and its dominant mode of direct presentation. V
21、audeville programs were composed of interchangeable acts presented with no connective story uniting them. The slogan, “Something for Everybody,” advertised the claim that a typical vaudeville bill could accommodate the preferences of a mixed audience by presenting a variety of types of acts. Common
22、types included acrobats, animal acts, singers, dancers, team acts, storytellers, comedians, magicians, impersonators, ventriloquists, mind readers, comic sketches, and playlets. The institution of American vaudeville developed from two immediately antecedent entertainment forms: the dime museum and
23、the concert saloon. Popularized in the 1840s by P.T.Barnum and other showmen, dime museums combined pseudo-scientific exhibits Encyclopedia of early cinema 968 of freaks of nature with variety shows featuring types of specialty acts common to minstrel shows. Concert saloons, gaining popularity in th
24、e 1850s, presented risqu theatrical entertainment in saloons frequented primarily by working-class men. “Waiter- girls” serving drinks in these establishments gained a reputation for prostitution. Following press outcry, the New York state legislature passed the “Anti-Concert Saloon Bill” in 1862, f
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