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Early American Cinema in Transition: Story, Style, and Filmmaking, 1907–1913
University of Wisconsin Press, 2001 Cloth: 978-0-299-17360-9 | eISBN: 978-0-299-17363-0 | Paper: 978-0-299-17364-7 Library of Congress Classification PN1993.5.U6K39 2001 Dewey Decimal Classification 791.43097309041
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ABOUT THIS BOOK
The period 1907–1913 marks a crucial transitional moment in American cinema. As moving picture shows changed from mere novelty 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. See other books on: Early American Cinema | Keil, Charlie | Motion picture industry | Style | Transition See other titles from University of Wisconsin Press |
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Early American Cinema in Transition: Story, Style, and Filmmaking, 1907–1913
ABOUT THIS BOOK | TOC | REQUEST ACCESSIBLE FILE
University of Wisconsin Press, 2001
Cloth: 978-0-299-17360-9
eISBN: 978-0-299-17363-0
Paper: 978-0-299-17364-7
Cloth: 978-0-299-17360-9
eISBN: 978-0-299-17363-0
Paper: 978-0-299-17364-7
The period 1907–1913 marks a crucial transitional moment in American cinema. As moving picture shows changed from mere novelty 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.
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