Encyclopedia of Early Cinema(Part D) .pdf
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1、 D dance films Thomas Edison once referred to his invention of the Kinetoscope as “a machine to make little pictures that danced.” The statement reveals an affinity between the new invention and our most ancient art. The vast majority of the Edison companys early films recorded trained bodies in mot
2、ion, principally acrobatic and athletic performers as well as dancers. In 1894, the first year of Kinetoscope production, the dances filmed included: Carmencita in Spanish dances; Scotch Highlanders performing a reel; Ruth St. Dennis performing high kicks; Annabelle Moore performing both a butterfly
3、 and a serpentine dance; Sioux warriors enacting several native dances; “The Gaiety Girls” in a number of their well- known dances; Japanese women performing a ribbon dance; Rosa doing a Turkish belly- dance; and Wilson and Waring in an eccentric “tramp” dance. Dance films became one of the most sta
4、ble genres of early cinema before 1904. Basically, subjects oscillated between foreign, even ethnographic dances, and more familiar theatrical dances. The Lumire company catalogue emphasized the foreign (Tyrolese, Javanese, Russian, Italian, Egyptian, Mexican, Ashanti, Spanish, Scotch), but included
5、 some more theatrical performances, such as serpentine dances and a series of films of the Ballet Excelsior. Beginning in 1899, Path-Frres offered a series of international dance films (Russian, Abyssinian, Greek, Spanish, belly dances from Tunisia, Egypt, and Greece), but also filmed highly theatri
6、cal performances: stars of the Moulin Rouge, a film supposedly of Loe Fuller, and the ballet companies of the Paris Opera and Chtelet. Richard Abel estimates that fully half of the films Gaumont released between 1900 and 1902 were dance films, including both international dances and ballet numbers.
7、The American Mutoscope and Biograph Company (AM but filmmaking skills seem to have been in short supply. Although the company did not close down until 1918, it consistently was unprofitable and never produced any major successes. CASPER TYBJERG DAnnunzio, Gabriele b. 1863; d. 1938 novelist/poet/dram
8、atist, Italy Italys Belle Epoque was suffused with Gabriele DAnnunzios influence; as was early Italian cinema, even if DAnnunzio was cynical about its possibilities. His late-romantic influence is clear in diva films. In a literary sense, DAnnunzios influence also is visible in the many adaptations
9、of his works, with Ambrosio making no less than six films in the 19111912 season. His most well-known association with early Italian cinema came in the marketing strategy for the epic Cabiria (1914). For 50,000 francs, Itala producer- director Giovanni Pastrone convinced the forever-in-debt DAnnunzi
10、o to promote himself as the author of the film, to write the turgid intertitles, and to create some of the exotic names of the characters. These literary pretensions and DAnnunzios aura, Encyclopedia of early cinema 234 however, long delayed recognition of the innovating aspects of the film and of t
11、he actual filmmaker. IVO BLOM Dansk Biograf Kompagni The origin of this Danish film company lay in the international success of Alfred Linds De fire Djaevle The Four Devils (1911). German investors enabled one of the men behind this film, actor Carl Rosenberg, to establish a production company in 19
12、12. It was a commercial failure, however, until its backers put Benjamin Christensen in charge. His Det hemmelighedsfulde X The Mysterious X (1914) was a huge hit, and Christensen took over the company and renamed it Benjamin Christensen Film. His subsequent film, Haevnens Nat The Night of Vengeance
13、 (1916), also was very successful, but uncertain wartime conditions made him decide to close the company down. CASPER TYBJERG Darling, Alfred b. 1862; d. 1931 engineer, Britain The active 1890s filmmaking scene on Englands south coast, which Georges Sadoul later dubbed “The Brighton School,” owed mu
14、ch to the presence and inventive genius of Darling, a local engineer who manufactured cinematographic equipment for Esme Collings, G.A.Smith, James Williamson, and most notably Charles Urban, for whom Darling began producing equipment in 1898, including the celebrated Watwick Bioscope projector and
15、the Biokam 17.5 mm camera-projector for amateur use. Darlings business prospered, and he was one of the original investors and directors of the Charles Urban Trading Company. His projectors, cameras, tripods, winders and printers had widespread use the world over. See also: amateur films LUKE McKERN
16、AN Davidson, Paul b. 1867; d. 1927 Entries A-Z 235 producer, distributor, exhibitor, Germany After having worked in the textile and security service industries, Davidson built up AKGT, Germanys largest cinema chain (showing mainly Path-Frres films) between 1906 and 1910, from which emerged the count
17、rys first vertically-integrated film company, Projektions-AG “Union” (PAGU). In 1913, Davidson re-modelled the U.T.Alexanderplatz in Berlin into the countrys biggest movie palace with a capacity of 1,200 seats, converted his distribution contract with Asta Nielsen and Urban Gad into a long-term prod
18、uction agreement, and contracted Max Reinhardt to produce prestigious Autorenfilme. In 1914 Davidson began his collaboration with Ernst Lubitsch, which lasted well beyond 1918, when he sold the majority of PAGUs shares to the newly founded UFA (Universum Film AG). He committed suicide in a sanatoriu
19、m in 1927. MICHAEL WEDEL Davis, Harry b. 1861, London; d. 1940, Pittsburgh exhibitor, entrepreneur, USA By 1900, Davis was an important figure in the entertainment industry of Pittsburgh. When a fire destroyed one of his downtown theaters in June 1905, he quickly opened the legendary Nickelodeon; so
20、 successful was this venture that, with associate John Harris, he soon financed more storefront theaters in Pittsburgh and other major cities. By 1907, he and Harris owned or managed a chain of twenty-five Bijou Dream moving picture theaters throughout the East and Midwest. Although his fortunes ros
21、e and fell several times over the next few years, Davis remained one of the biggest exhibitors in Pittsburgh at least through the 1910s. RICHARD ABEL Dawley, J.Searle b. 1878, Del Norte, Colorado; d. 1949, Woodland Hills, California director, USA J.Searle Dawley gave D.W.Griffith his first screen ac
22、ting work in Edisons Rescued From an Eagles Nest (1907). He left home as a teenager and was stage manager for a Brooklyn stock company in 1906, when he was hired by the Edwin S.Porter at Edison. In 1913, Dawley joined Porter at Famous Players Motion Picture Company and directed Mary Pickford, Margue
23、rite Clark, and John Barrymore in their earliest feature roles. He later directed for Metro, Fox and others. Illness forced his early retirement. ROBERT S.BIRCHARD Encyclopedia of early cinema 236 de Barros, Luis b. 1893, Rio de Janeiro; d. 1981 filmmaker, Brazil With the longest career in the histo
24、ry of Brazilian cinema, de Barros directed over 100 fiction and nonfiction films. The scion of a bourgeois family, he dabbled in theater initially; during a sojourn in Paris, he met Max Linder and eventually obtained work as an actor with Gaumont. Returning to Brazil in 1914, he dedicated himself to
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