Early American cinema in transition : story, style, and filmmaking, 1907-1913 /

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The period 1907-1913 marks a crucial transitional moment in American cinema. As moving picture shows changed from mere noveity to an increasingly popular entertainment, fledgling studios responded with longer running times and more complex storytelling. A growing trade press and changing production...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Keil, Charlie
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Madison, Wis. : University of Wisconsin Press, ©2001.
Colección:Wisconsin studies in film.
Temas:
1900-1999
Motion pictures > United States > History > 20th century.
Motion picture industry > United States > History > 20th century.
Cinéma > États-Unis > Histoire > 20e siècle.
ART > Film & Video.
PERFORMING ARTS > Film & Video > Reference.
Motion picture industry.
Motion pictures.
United States.
History.
Acceso en línea:Texto completo

MARC

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245 1 0 |a Early American cinema in transition :  |b story, style, and filmmaking, 1907-1913 /  |c Charlie Keil. 
260 |a Madison, Wis. :  |b University of Wisconsin Press,  |c ©2001. 
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504 |a Filmography: pages 270-286. 
504 |a Includes bibliographical references (pages 287-295) and indexes. 
505 0 |a Introduction -- "Boom time in the moving-picture business": Inndustrial structure, production practices, and the trade press -- "A story vital and unified in its action": The demands of narrative -- "An immeasurably greater freedom": Time and space in transitional cinema -- "The modern technique of art": The style of transitional cinema -- Anaylzing transition: Six sample films -- Conclusion. 
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520 8 |a The period 1907-1913 marks a crucial transitional moment in American cinema. As moving picture shows changed from mere noveity to an increasingly popular entertainment, fledgling studios responded with longer running times and more complex storytelling. A growing trade press and changing production procedures also influenced filmmaking. In Early American Cinema in Transition, Charlie Keil looks at a broad cross-section of fiction films to examine the formal changes in cinema of this period and the ways that filmmakers developed narrative techniques to suit the fifteen-minute, one-reel format. Keil outlines the kinds of narratives that proved most suitable for a single reel's duration, the particular demands that time and space exerted on this early form of film narration, and the ways filmmakers employed the unique features of a primarily visual medium to craft stories that would appeal to an audience numbering in the millions. He underscores his analysis with a detailed look at six films: The Boy Detective; The Forgotten Watch; Rose O'Salem-Town; Cupid's Monkey Wrench; Belle Boyd, a Confederate Spy; and Suspense. Book jacket. 
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