the shock ( 1923 film )
the shock (1923) | silent film. | pinterest | silent film and films
the shock (1923), black & white, 64 minutes, not rated .
regular contributor joshua hammer is the author of yokohama burning, about the great kanto earthquake of 1923 .
a print of the film is maintained in the film preservation associates, incorporated archive .
“ bradley king and her story, ” the silver sheet (may 1923): 19. ↩
there are no critic reviews yet for the shock. keep checking rotten tomatoes for updates !
julie crawford ivers (w / d / p / o) the white flower (1923). pcvv
nomads of the north (1920), black & white, 78 minutes, not rated, with the shock (1923), color - toned black & white, 69 minutes, not rated .
a print of the film is maintained in the film preservation associates, incorporated archive. [ 1 ]
, 1918. stills courtesy of danish film institute and austrian film museum, vienna .
overall, this is the best home video edition of the shock (1923) available and remains the best value for the quality of its picture and its musical accompaniment, and for its pairing with a lesser - known chaney northwoods drama, nomads of the north (1920) .
survival status: prints exist in the film holdings of film preservation associates; also [ 35mm positive ] .
lambert hillyer, henry a. barrows, william dudley pelley, william welsh (actor), shock
note: this review is of the alpha video dvd release of the shock, with a 2003 musical score. this film can also be found on the internet archive, though i’m not sure of the print quality or score for that version. the dvd is pretty nice quality for a nearly - forgotten film from 1923 — there’s a fair bit of grain, but no major flaws to the picture .
the shock is notable for being one of the few times in chaney’s films that he appears to win the affections of the woman of his dreams. — carl bennett
the film features music by film composer franz waxman. many of the sets and sound effects were later used in the flash gordon movie serials .
the shock is based on a story by william d. pelley (the fog) and was directed by lambert hillyer (dracula’s daughter) .
“e. leslie gilliams, “will women’s leadership change movies? ” illustrated world (february 1923): 38, 860, 956. ↩
notes: the working title of the film was bittersweet. some sources credit the scenario to arthur statter. at a production cost of $ 90, 220, the shock was a relatively modest film, but it earned $ 257, 327 in revenue, giving universal a respectable profit of $ 46, 965 .
the shock is a film that offers many moods. the story jumps from the ominous aura of queen ann, to the sweetness of watching wilse’s life improve, to the heartbreak wilse feels when he learns the woman he loves is engaged to another man. and, yes, there are a few genuine moments of “shock, ” too, when wilse’s past comes back to bite him. a whole lot of emotion is packed into these 64 minutes !
note: the shock is from a good sepia - toned print and has a fine score by robert israel for small ensemble with piano. nomads is also from a good print and is accompanied by israel on an instrument called the fotoplayer; the accompaniment treats the film with the level of seriousness it warrants .
sam kula, “up from the permafrost: the dawson city collection, ” in this film is dangerous: a celebration of nitrate film, ed. roger smither (london: fédération internationale des archives du film, 2002). ↩
founded in 1999, senses of cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film - related content on the internet .
can you imagine being so type casted as a villain that the one time you play a good person that’s what the movie is known for? with surprisingly sincere and tender acting from lon chaney, the shock is a story of a gangster that switches sides after falling in love with the daughter of the man he is helping to ruin. gripping and well acted, the shock is something pleasantly different to most of chaney’s films
by 1946, the woman in distress and the femme fatale were frequently appearing in film noirs. shock, however, is distinctive for having both together. in an unusual triangle, elaine, the femme fatale, is not only responsible for richard’s downfall but also for making janet the woman in distress .
the working title of the film was bittersweet. the screenplay was based on william dudley pelley' s magazine story ,
the pit of the golden dragon
. although mainly shot in the universal studios, the climactic earthquake scenes were a mix of model and archival film footage, mixed in with live action. principal photography on the shock took place in june 1922, after chaney finished work as fagin on oliver twist (1922) in late may 1922 .
the film is accompanied by a canned score compiled from a number of preexisting orchestral recordings .
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film set, with father and baby, the single standard josephine lovett (w). pc
the film was originally budgeted at $ 166, 785 but went $ 68, 000 over budget .
the issues held by the austrian film museum can be viewed online in full length and with german and english translation: urltoken .
the next step was my work on the agit - trains of the all - russian central executive committee. comrade lenin attached great significance to the use of film in the work of the agitational trains and steamers. and so on january 6, 1920, i leave with comrade kalinin for the southeast front. i take films with me. including the anniversary of the revolution. 10 we study the new viewer. we screen that film at all the train stops and carry it to urban movie theatres. at the same time, we shoot. the result is a film about the journey of the all - russian senior leader, kalinin. the period of my work concludes with the big film a history of the civil war (vertov 1984a: 151) .
universal pictures corporation production; distributed by universal pictures corporation [ universal - jewel ]. / scenario by [? ] arthur statter and / or charles kenyon? , from a screen story by william dudley pelley. cinematography by dwight warren. presented by carl laemmle. / © 27 april 1923 by universal pictures corporation [ lp18917 ]. released 10 june 1923. / standard 35mm spherical 1. 33: 1 format. / working title: bittersweet. de vere’s final film .
clara kimball young film corporation — 1916–1917 with lewis j. selznick (producer )
a growing source of silent era film information. this listing is from the progressive silent film list by carl bennett. copyright © 1999 - 2018 by carl bennett and the silent era company. all rights reserved .
raynauld, 578, says that sargent’s 1911 the technique of the photoplay laid out rules that defined what was and was not cinematic. between 1912 to 1923, she says, one hundred and nine manuals were published in english. see azlant 1997, 228–256. ↩
widdis, emma. 2003. visions of a new land. soviet film from the revolution to the second world war. new haven .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
( dziga vertov, 1918, ussr) can be considered vertov’s first film, and it exists in parts in the russian state documentary film & photo archive (rgakfd) in krasnogorsk near moscow .
signal film corporation — 1915 helen holmes with j. p. mcgowan (producer )
the film is excellently accompanied by a piano and ensemble performance arranged and directed by the always - reliable robert israel. the quality of his work continues to impress us .
da vinci' s the last supper plays a key role in the 2006 blockbuster hit the da vinci code. although the film' s claims are more fiction than fact, could the painting actually contain a message from leonardo ?
myrtle gebhart, “business women in film studios, ” the business woman (december 1923): 67–68. “the girls who do not act, ” picture - play magazine (december 1924): 102, 119, gives more detail about this work, explaining that a film joiner is a “splicer, ” that in addition to working as a librarian a woman might be employed as a researcher (“research worker”), and that they were numerous not only in the millinery but in the drapery department. ↩
propaganda in motion. dziga vertov 's and aleksandr medvedkin 's film trains and agit steamers of the 1920s and 1930s | heftberger | apparatus. film, media and digital cultures of central and eastern europe
österreichisches filmmuseum, thomas tode, and barbara wurm, eds. 2006. dziga vertov. the vertov collection at the austrian film museum. vienna .
micheaux film company — alice b. russell (actress) with oscar micheaux (director )
the shock and nomads of the north are two minor lon chaney films released as a dvd double feature by image entertainment. as a window on chaney’s career, the films fall at either end of the transition period between his early years playing supporting roles and his later years of superstardom. as entertainment, they illustrate the compensations and limitations of star power .
see giovanna fossati, from grain to pixel: the archival life of film in transition (amsterdam: amsterdam university press, 2009), on the restoration of beyond the rocks. ↩
the ten canoes agreement recognizes the ramingining community’s property rights for all artefacts and sets made for the film. these materials were included in a recent multi - media art / cultural exhibition .
with so much going on, and in such a short run - time, the shock could easily have been a confused mess of a film, with underdeveloped characters and predictable plot developments. that fate is avoided through a wonderful lead performance by lon chaney, and a nicely - crafted script. the viewer’s interest is effortlessly held by this engrossing tale. the score: 5 / 5 !
blaney - spooner feature film company — 1913 cecil spooner with charles e. blaney (producer )
i had to provide explanations of the films for nearly every audience. most of the films were made crudely and carelessly, and an average viewer seeing them for the first time cannot understand them completely. solving the riddles with the glosses made the film understandable even to the nearly illiterate (ibid .). 11
but the sheer number of creative opportunities was eventually reversed when the more expensive multireel feature film became the standard, and it became more difficult to secure financing for larger production budgets. as karen mahar has pointed out, although feature films originally provided opportunity for independent companies outside the mppc distribution and exhibition system, as the multireel feature presentation became the standard, the competitive strategy behind the feature film business involved eliminating small companies by raising the capital investment required (2006) .
the young dziga vertov was enlisted by the vtsik in order to manage the film and photo division of the trains in january 1920. this can be proven by several documents held in the vertov - collection in the austrian film museum, for example the document “confirmation (of the all - russian committee of the deputies of the soviet of workers, cossacks and red army soldiers) ” 7 or “confirmation no. 11001” 8. he had been head of cinema on some of the journeys of the agit - train october revolution, and of red east in 1920. 9
nomads is typical of curwood’s work. it has the positives of the strong frontierswoman and the superficial realism of the unusual setting. it also has the negatives of broad melodrama and sentimental depictions of animals; the challoners’ dog is best of friends with their domesticated bear, and the film includes tiresome, overlong scenes of both the pets and forest animals .
the western film producing company and booking exchange – maria p. williams (writer - producer – jesse l. williams (producer )
monopol film company – 1912 marion leonard with stanner e. v. taylor (writer - director )
josephine rector (a / w) in scene from unidentified production. essanay film manufacturing company. ampas
film preservation 1993: a study of the current state of american film preservation, vol. 1, report, june 1993 (report of the librarian of congress, 3–4); david pierce, “the legion of the condemned—why american silent films perished, ” film history 9 (1977), 17, note # 1, notes that the figures might be larger if films held by private collectors were added. note also that features but not shorts are counted. ↩
the first “film factory on reels” left the station in the night in january 18 / 19, 1932, and was in existence for three years without a definitive end date. the destination of this first expedition was the ukrainian mining region dnepropetrovsk, with the aim of improving the efficiency of the industrial transportation systems and looking into problems with the poor organisation in the factories responsible for servicing railway engines (widdis 2005: 24) .
for more detail see max alvarez, “the motion picture distributing and sales company, ” film history 19 (2007): 247–70. ↩
see jane gaines, “pink - slipped: what happened to women in the silent film industry? ” the wiley - blackwell history of american film, ed. cynthia a. lucia, roy grundmann, and art simon (london: wiley - blackwell, 2011). ↩
lowell film productions — 1925 lillian case russell with john lowell [ john l. russell ] (writer )
vertov, dziga. 1922. kinopravda no. 9 / film - truth no. 9. goskino .
when a crippled man is transformed, many strange events (including the 1906 san francisco earthquake) follow. a silent film starring lon chaney .
reviews of silent film releases on home video. copyright © 1999 - 2018 by carl bennett and the silent era company. all rights reserved .
see e. ann kaplan, women and film: both sides of the camera (new york: methuen, 1979), 50–59. ↩
taylor, richard, and ian christie, eds. 1988. the film factory: russian and soviet cinema in documents. cambridge, ma .
effectively, the october 15, 1915, court order broke up the motion picture patents company, and the patents company vs. the universal film manufacturing co. was not decided until april 9, 1917, but the hold began to loosen even before the first of the lawsuits challenging the patent pool monopoly in 1912. see bowser 1990, ch. 5; ramsaye 1986, 715–16. ↩
as it turns out, wilse is not the only one in fallbrook who has a past with queen anne. i won’t spoil just who else is involved with that mob matriarch, but i will say that the shock presents an intriguing crime drama. along with the less - dramatic story of a man finding redemption through the kindness and friendship of others, the tale of blackmail and corruption makes for an interesting watch .
heftberger, adelheid 2015. “‘propaganda in motion. dziga vertov, aleksandr medvedkin, soviet agitation on agit - trains, agit - steamers, and the film train in the 1920s and 1930s. ” apparatus. film, media and digital cultures in central and eastern europe 1. doi: urltoken
but not only was the filmmaker intensely involved with the film exhibition, he was actually a film presenter too. this meant offering oral explanations and commentary, although it is not clear at what point this aid to the audience was provided (ibid .). vertov took these tasks very seriously and he was not happy with the selection of prints at his disposal :
unique film company — 1915 mrs. m. webb (writer) — miles m. webb (producer )
marion, frances. how to write and sell film stories. new york: covici - friede, 1937 .
vertov, dziga. 1918. kinonedelia no. 3 / film - week no. 3. kinokomitet narkomprosa .
vertov, dziga. 1918. kinonedelia no. 17 / film - week no. 17. kinokomitet narkomprosa .
vertov, dziga. 1918. kinonedelia no. 22 / film - week no. 22. kinokomitet narkomprosa .
vertov, dziga. 1918. kinonedelia no. 23 / film - week no. 23. kinokomitet narkomprosa .
throughout march 1922 vertov became more involved with the administration of mobile cinema, until he started working on the kinopravda newsreels that spring. vertov struggled to create a mobile cinema and keep it going, stating his ideas about the dissemination of film in cities, along water routes, along railway lines, through special film wagons and automobiles .
smallwood film corporation – 1913 – ethel grandin with ray c. smallwood (director), arthur smallwood (brother )
see jane gaines, “pink - slipped: what happened to women in the silent film industry? ” in the wiley - blackwell history of american film, ed. cynthia a. lucia, roy grundmann, and art simon (london: wiley - blackwell, 2012), for the argument that given recent research, the story has changed from the idea that there were “no women in 1925” to the idea that opportunities for women were “over by 1925. ” ↩
ten canoes (rolf de heer, 2006) is australia’s most ambitious and most expensive cross - cultural film project to date. the balanda and the bark canoes (molly reynolds, tania nehme and rolf de heer, 2006) that takes us behind the scenes of this film to provide invaluable insight into the extraordinary processes of collaboration between balanda (“white - fella”), director rolf de heer and the yolngu people of ramingining .
this text was printed from the women film pioneers project at columbia university. to promote readability and conserve consumable resources, images and interactive elements in the digital version do not appear in print format .
there are other instances in shock, however, when the person with higher rank has the advantage, for good or ill. janet arrives at the hotel, and the clerk tells her no room is available. the hotel manager comes out and arranges a room for her. the hotel doctor can only give a non - specialist’s evaluation of janet, so she’s turned over to richard. due to his position at the sanatorium, richard can get away with administering an overdose to janet. dr. harvey, under whom richard studied, has the prestige and confidence to barge into the sanatorium to save janet .
a criminal on the run hides in a circus and seeks to possess the daughter of the ringmaster at any cost .
at about 43: 05, wilse is crossing a room in anne' s house. he moves his bad right foot which is paralyzed throughout the film .
a magician seeks vengeance upon the man who paralyzed him and the illegitimate daughter he sired with the magician' s wife .
gaines, jane; radha vatsal .
how women worked in the us silent film industry .
in jane gaines, radha vatsal, and monica dall’asta, eds .
epes w. sargent, “the literary side of the motion picture world, ” moving picture world 21 (11 july 1914): 199, rpt. in film history 9 (1997): 269–274. ↩
one of the explanations for this has to do with the lawsuit filed against the kalem company by the estate of author lew wallace after the release of ben hur (1907). in the years before copyright in the motion picture was established, adaptation and other kinds of borrowing were common practice. the search for “original” stories was seen as a way around the problem. ↩
the idea to use film to correct “everything that was wrong” has been one of the things which clearly distinguished medvedkin’s approach and method from the agit - trains ten years earlier. the population should neither be entertained nor supported morally, but actually see their own crimes against the soviet state and their fellow man, and be punished in public :
films with a revolutionary character will also be widely used at the front. the committee is organizing ten special trains, named after comrade lenin, three of which will be leaving for the fronts at the beginning of november. the trains will have a mobile camera, set up in a car. film material will also be sent to the provinces (anonymous 2004: 38) .
what' s the difference between england, britain and the u. k. ?
this argument was first made in michael wood, america at the movies. new york: basic books, 1975. it is developed in christine gledhill, “the melodramatic field: an introduction, ” in home is where the heart is: studies in melodrama and the woman’s film, ed. christine gledhill (london: british film institute, 1987), 13, 34, and again in linda williams, “melodrama revisited, ” in refiguring american film genres: history and theory, ed. nick browne (berkeley: university of california press, 2001). ↩
hitting the earth, thousands of years ago at a spot in africa. amazed by the demonstration, the pair invite rukh to go on an expedition to find the meteor .
the “familial mode” or system might possibly be seen in what charles musser has called the “collaborative system” he sees dominant until 1907–08 (“pre - classical american cinema: its changing modes of film production, ” in silent film, ed. richard abel [ new brunswick: rutgers university press, 1996, 86 ]. the “camera - system, ” followed by the “director - unit system, ” and finally the “central producer system” have been described most fully by janet staiger in david bordwell, kristin thompson, and janet staiger, the classical hollywood cinema: film style & mode of production to 1960 (new york: columbia university press, 1985), 113–41. ↩
in affording lon chaney one of the spectacular characterizations for which he has shown an aptitude, universal has achieved a striking success in the shock... for his followers the production will most likely have an intense appeal... at times his extreme physical deformity and resulting contortion are rather harrowing. he gives a vivid performance, but sometimes it is too intense to be pleasant .
- - - moving picture world
both vertov and medvedkin were preoccupied with trying to find new forms of engaging the audience in the cinematic experience and both claimed that there was no existing film language they could use. their genre of choice was initially the documentary, a form medvedkin would eventually leave in order to make feature films and to develop his comic approach further. both stressed the involvement of the local community (in medvedkin’s case) or the viewer generally (in vertov’s case) in the production of films. perhaps we can see vertov here as the more radical thinker, who not only wanted to show his audience on the screen, but envisioned a system of film–reporters who would produce their own images and share them with the world .
in europe the war began between july 28 and august 4, 1914, and the us entered the war in july 1917. ↩
in fifteenth century paris, the brother of the archdeacon plots with the gypsy king to foment a peasant revolt. meanwhile, a freakish hunchback falls in love with the gypsy queen .
- okay, this was a good one - more melodrama and tears packed into one movie than you might ever desire - lillian gish is absolutely fantastic in this film. a long, involving silent film that i found very entertaining and nicely photographed. the scene where lillian as angela takes her final vows to become a nun is beautifully done. this film, as screened on tcm, featured a quite nice orchestral score done by garth neustadter. the film was tinted in some scenes, and looked reasonably good except for some scenes with a bit of decomposition. for gish fans (like me !) this is a can' t miss .
rick altman, film / genre (bloomington: indiana university press, 1999), 33–35. see also tom gunning, “non - continuity, continuity, discontinuity: a theory of genres in early film, ” iris 2, no. 1 (1983): 101–112. ↩
in the us, women had the right to vote in 1911 in the state of california, but not until 1920 was it granted at the federal level. scholars concur that despite the benefit from a change in the political climate that accrued to women who worked in the new industry, there is no evidence of any direct hollywood association with the suffrage movement. ↩
vertov, dziga. 2006. “dziga vertov: tvorčeskaja kartočka (1917 - 1947). ” in the vertov collection at the austrian film museum, edited by österreichisches filmmuseum, thomas tode, and barbara wurm, 79–158. vienna .
austrian film museum, vienna digital formalism (2007 - 2010). she holds a phd in slavic studies as well as a ma in comparative studies from the university of innsbruck, and has published about the visualization of filmic structure in the work of dziga vertov and archival topics .
“m. e. w. chinese film producer” [ marion e. wong ], moving picture world, 7 july 1917, 63. ↩
copyright: the text of this article has been published under urltoken this license does not apply to the media referenced in the article, which are subject to the individual rights owner’s terms .
political leaders would frequently travel to the front lines, conducting agitation and help to support the morale of the red army. the following two images are taken from different issues of the kinonedelia, kinonedelia no. 3 / film - week no. 3 (dziga vertov, 1918, ussr) and kinonedelia no. 22 / film - week no. 22 (dziga vertov, 1918, ussr), which show the head commander of the soviet army in the northern caucasus, comrade avtonomov (fig. 8), and lev trotskii’s meeting czech troops in penza (fig. 9). david king’s book does not only include great images of the agit - trains, but he also writes about trotskii’s way of using the trains for his goals :
the invisible ray is a 1936 american science fiction film starring boris karloff (credited as'
karloff
) and béla lugosi as dr. felix benet that was released by universal pictures .
one of the most influential texts in this debate is marcia langton’s well, i heard it on the radio and i saw it on the television: an essay for the australian film commission on the politics and aesthetics of filmmaking by and about aboriginal people and things (sydney: australian film commission, 1993). also see eric michaels’ groundbreaking essays on cross - cultural media, including “for a culture future”, which have been edited by paul foss and published as bad aboriginal art (university of minnesota press, 1994) .
florence lawrence, in her “growing up with the movies” recalls that the first production in which she appeared for the edison manufacturing company, daniel boone; or, pioneer days in america (1907) sold outright for $ 150, which was 15 cents per foot (41). within the next two years, however, the mppc, of which edison was the controlling member, put in place a system of film print rental as opposed to purchase, an attempt to control the 35mm print duplication considered a copyright violation. thus we understand the 1909–1912 years of the mppc as the period of rented shorts and the all - shorts mixed - genre exhibition program .
vertov, dziga. 1918. godovshchina revoliutsii / the anniversary of the revolution. kinokomitet narkomprosa .
the skull of the first animal to set foot on land is found at miguasha national park .
in this sense vertov and medvedkin can be seen as predecessors of tv or online - journalism – to shoot, process and project the images as fast as possible: “12 minutes - project of mobile film projection unit. only 12 minutes transpire from the arrival time at the show location to the beginning of the screening. ” (österreichisches filmmuseum, tode and wurm 2006: 84) .
for an excellent overview of this history and a provocative contribution to the debates on protocols, see frances peters - little, “ the impossibility of pleasing everybody: a legitimate role for white filmmakers making black film ”, in australian humanities review .
this begins with edgar morin, the stars (1960; rpt. minneapolis: university of minnesota press, 2005), richard dyer, stars (london: british film institute, 1979). the most comprehensive coverage of the silent star is richard decordova, picture personalitie: the emergence of the star system in america (champaign - urbana: university of illinois press, 1990). ↩
the wave of good feeling between the two countries would soon dissipate, however, in mutual accusations. japanese expressed resentment toward western rescuers; demagogues in the united states charged that the japanese had been “ungrateful” for the outpouring of help they received .
as a company job, the scenario writer was sometimes also responsible for titling, or intertitle writing, and within this labor of writing there might have been another breakdown: continuity writer, film editor, and scenario editor (mcgilligan 1986, 2). some women established themselves as both film editor and scenario editor, the latter of which required more writing, as, for example, beta breuil and hettie gray baker, who emerged from the editing department to head up departments as scenario editors. in her 1914 art of photoplay writing, catherine carr describes the responsibilities of the scenario editor in what she calls the “maiden trip” of the manuscript :
sydney valentine, “the girl producer, ” photoplay (july 1923): 55, 110. all that we know about twenty - two year old grace haskins is from this article that, as it admits, takes a “horatio alger, ” obscurity - to - fame approach. grace begins in a hollywood hotel and moves up to a job answering fan letters, and from there to a job cutting and then writing continuity. ↩
see paper document with the title “project of a scenario, intended for the shoot during the time of the agit - train ‘soviet caucasus’”, dated may 2, 1920 (deriabin 2004: 44 - 47). deriabin points out that vertov possibly edited footage into film soviet caucasus, made by his friend and collaborator at that time, anatolii lemberg .
picture is an underworld story, with chaney cast as a cripple, and the effort apparently was to give it some touch of the atmosphere of the miracle man, in which chaney came into fame almost overnight in the part of the
frog .
the subject misses by a wide margin the high aim of the other vehicle and degenerates into a cheap shocker .
- - - variety
this article is issued from wikipedia - version of the 9 / 22 / 2016. the text is available under the creative commons attribution / share alike but additional terms may apply for the media files .
this article is issued from wikipedia - version of the 2 / 8 / 2016. the text is available under the creative commons attribution / share alike but additional terms may apply for the media files .
brought to you by packard campus of the audio - visual conservation center at the library of congress .
everything is changing, everything is going, going, gone now. the only thing the children know is some ceremony [ … ] they not even normal kids anymore. maybe they gonna keep this film with them so they can put it in their head .
carr was among the group of women who saw scenario writing as a profession and wrote manuals published in the silent as well as in the sound era .
christine gledhill, “rethinking genre, ” in reinventing film studies, ed. christine gledhill and linda williams (london: arnold, 2000), 240. ↩
there are a few bright spots aside from chaney. the queen is an excellent villainess. it is a part that needed only a name change to be re - cast as a villain, a gender reversal i enjoyed for its own sake and for the queen’s costume changes; her every scene brought a marvelous new dress and accessories. the film also offers one of the few chances to see chaney get the girl .
hi ni oware mizu ni oboru
( chased by the fire, drowned in the water), by artist nyosen hamada. at the time, the great kanto earthquake was considered to be the worst natural disaster ever to strike quake - prone japan .
a bitter clown endeavors to rescue the young woman he loves from the lecherous count who once betrayed him .
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king, david. 2009. red star over russia. a visual history of the soviet union from the revolution to the death of stalin. new york .
while the political section drew up itineraries and organized the work, the information section was responsible for organizing lectures, distributing brochures, and it also controlled the film projector (kenez 1985: 60). cinema was considered a very powerful instrument in agitational work and films were even produced just to be shown in agit - trains. the soviet people’s commissar of enlightenment responsible for culture and education, anatolii lunacharskii, wrote in 1919 :
vertov told me lately in a conversation that ideally he would have in mind a kind of sculptural film, which is no longer localised on the flat cinema screen, but whose protagonists seem to run – or literally do run - into the audience (arnheim 1931) .
• artist and broadcaster bill reid, whose mother was haida, was one of the members of the crew. as reid explains in this report, the team was comprised of
four anthropologists, three haida fishermen - the skipper of the boat, his brother and the cook - two cameramen, an enthusiastic amateur authority on haida houses and villages, and me: a descendant of the haidas and representative of the cbc .
the earthquake also exposed the darker side of humanity. within hours of the catastrophe, rumors spread that korean immigrants were poisoning wells and using the breakdown of authority to plot the overthrow of the japanese government. (japan had occupied korea in 1905, annexed it five years later and ruled the territory with an iron grip .) roving bands of japanese prowled the ruins of yokohama and tokyo, setting up makeshift roadblocks and massacring koreans across the earthquake zone. according to some estimates, the death toll was as high as 6, 000 .
chaney gets the girl in nomads of the north too, although it’s the only point of resemblance between the two films. nomads is a northwoods melodrama adapted from a novel by james oliver curwood, a popular author of the day whose stories inspired many movies. chaney plays a french - canadian trapper named raoul challoner whose fiancee nanette (betty blythe) is also the object of desire of the scurrilous son of the manager of the company settlement and an honorable mountie (lewis stone) .
in the hall of the railway station – in every train station hall, even in the smallest village – the door of a wooden shed is open, and above this shed one can read the word agitpunkt. in this shed a man sells and distributes agitation brochures, leaflets and the official newspapers. the hall is, like the walls of all cities, plastered all over with posters and newspapers (holitscher 2012: 55) .
meanwhile, a wall of water surged from the fault zone toward the coast of honshu. three hundred people died in kamakura, the ancient capital, when a 20 - foot - high wave washed over the town. “the tidal wave swept out a great section of the village near the beach, ” wrote henry w. kinney, a tokyo - based editor for trans - pacific magazine. “i saw a thirty - foot sampan [ boat ] that had been lifted neatly on top of the roof of a prostrated house. vast portions of the hills facing the ocean had slid into the sea. ”
it spoke of a world of long ago, where things were different, life as different to anything that could be imagined by almost any balanda anywhere. to enter that world would be the essence of real cinema [ … ] the film had started to form. (4 )
he wanted the newsreels to be “live”, so how he perceived the idea of shooting and showing film was intrinsically connected with speed and movement, but also to working with limited possibilities. for this reason special cinema trucks were developed by the mechanic john yolk in 1920 / 1921 for service on the western front and in the villages around petersburg, novgorod and kiev. they were projector and camera all - in - one and far more mobile than the trains or steamers (tode 2008: 152) .
perhaps because it was considered a purely mechanical and tedious undertaking, requiring only attention to detail, keen eyesight, and nimble hands, film editing in the first decade was often carried out by anonymous, young working - class women. their duties were considered to be no more creative than cutting and pasting hundreds of feet of negative and positive film, and, as such, cutters and joiners were not mentioned in the trade presses, which the first century of us motion picture history relied upon so exclusively .
references: film credits, film viewing: edmonds - bigu pp. 120 - 121; everson - american p. 113; hirschhorn - universal p. 41; lahue - gentlemen pp. 48, 52; limbacher - feature p. 221; weaver - twenty p. 77: clasim - 223 p. 47: website - afi .
medvedkin had started in theatre, where he used the grotesque, clowning, burlesque, comedy, circus or farce to educate the illiterate audience. he then went on to making one reelers, which were soon criticised by the party officials, but lunacharskii spoke up for him and made sure he could continue making films. medvedkin did not like to use musical accompaniment and produced newsreels from documentary materials. finally the director developed his concept of the film train :
for colour images of the trains see vladimir tolstoi (2006). a very useful publication is also the book by david king (2009). king informs us about some details connected to the decoration of the trains, for example that the first agit - trains were laminated with posters; the following ones instead were painted with oil - based paint. he draws our attention to the publication by viacheslav polonskii (1925) and argues that the language and style used are very similar to the russian petrushka theatre .
furthermore, the main task of cinema in both its scientific and feature divisions is that of propaganda. generally speaking, every art, as tolstoy once remarked, is above all a means of instilling the artist’s emotions into the masses. education in the wider sense of the word consists in the dissemination of ideas among minds that would otherwise remain a stranger to them. cinema can accomplish both these things with particular force: it constitutes, on the one hand, a visual clarion for the dissemination of ideas and, on the other hand, if we introduce elements of the refined, the poetic, the pathetic etc. , it is capable of touching the emotions and thus becomes an apparatus of agitation (taylor and christie 1988: 47) .
macpherson, jeanie. the necessity and value of theme in the photoplay. los angeles: palmer photoplay, 1920 .
see don crafton, “the pie and the chase, ” in wanda strauven, ed. the cinema of attractions reloaded (amsterdam: amsterdam university press, 2006). also see nöel carroll, “notes on the sight gag, ” in the slapstick symposium, ed. eileen bowser. ↩
on the significance of boucicault for the american stage see daniel gerould, american melodrama (1983; 2001). ↩
starewicz, władisław. 1913. strekoza i muravei / the grasshopper and the ant. a. khanzhonkov and co .
i think that is the issue. it is about appropriation in some respects, because the western notion of the artist as hero goes right up against indigenous cultural paradigms of cultural material belonging to the community from whence it comes from .
• the totem poles were moved to the royal british columbia museum in victoria and the university of british columbia (ubc) in vancouver. according to maria tippett, author of
the film began when i showed a photograph from donald doctor thomson to rolf de heer and said what do you think? rolf de heer started to write that story with ramingining people, my people, and we started to work together .
in both scenes where richard and elaine are at his house, he regrets “listening” to her and not calling the police after he killed his wife. in the first scene, he resists when she urges him not to allow janet’s shock “to wear off. ” he wants “to think” about it. but when she takes his arms and comes close to him, it is understood that she will get her way. in the second scene, elaine says they should “take care of” janet so she can’t be interviewed by the police. richard is unwilling to give janet a lethal injection, and elaine criticizes him for being weak. then, with the gentlest of manner, she tries seduction .
the 1907 to 1920 period is characterized by the professionalization and institutionalization of writing for the screen, although in the first half of this period, when the demand for stories was so high, many actresses also wrote their own scenarios. epes w. sargent even reported in moving picture world that at the edison company everyone on the set was writing scenarios. (46) around 1909, companies also began to advertise to the public for original stories. (47) according to scholars, departments appeared around 1911, the first year that sargent published the first screenwriting manual and the edison company began to give some writers screen credit. (48 )
to the exerting of influence and the showing of life we should add demonstration which transforms daily life, a kind of laboratory, passed through film montage, of new forms which are being invented now (clothes, architecture, furniture, gestures, and so forth) (arvatov 2004: 132) .
first it is delivered to the scenario department, where it is duly opened and catalogued by an under clerk. it then reaches the professional reader (if the company is a large one), and if thought to contain merit, it is finally placed upon the editor’s desk, where it has its final reading and the decision is made to either retain it or return it… when the manuscript has been purchased, and the author has signed the necessary release slip, stating that it is original and not an adapted theme, the work of making the picture begins (21). (50 )
marker was not the only one to point out how medvedkin’s life story (1900 - 1989) echoes the story of the “soviet dream itself”. emma widdis explores this thought further :
bowser, 1990, 186, was early to note a connection between the serial heroine and the new woman, mentioning female “writer - directors” alice guy, gene gauntier, and lois weber in the same paragraph as the “brave heroine. ” ↩
mevedkin’s career, and his life, run in parallel with the life and death of the ussr, and mirror the complexities and moral ambiguities of that ill - fated experiment. his major works stand as testament to the tensions and creativity of the years between 1917 and 1940, at once conforming to the political imperatives of the age and subverting them. his creative life is emblematic of the difficult trajectory of an artist committed to that most capricious of regimes (widdis 2005: 1) .
next to the train october revolution (that travelled to the central regions and nearly all of the front lines of the civil war, as well as the ukraine, don, cuban, northern caucasus and siberia) the best known trains are red east (to turkestan in march 1920), soviet caucasus (northern caucasus and azerbaijan in october 1920) and red cossack (don and cuban area from april to july 1920). the most famous agit - steamer is without doubt the red star, which travelled along the river volga and river kama between july 1919 and the fall of 1921 (fig. 10) .
sort films by title, year of release, and year inducted into the registry by using the up and down arrows at the top of each column. download pdf copies of the entire list of registry titles sorted alphabetically or by year of release .
in the silent era, european exoticism was also faked. welsh immigrant muriel harding styled herself as polish countess olga petrova and as a move for artistic control, started petrova pictures corporation in 1917, outside the studio system (mcmahan 2002, 180). valda valkyrien, the danish actress born in reykjavik, iceland, adopted the aristocratic persona of mademoiselle valkyrien to help her career when she immigrated to the us. she found work at the thanhouser company and later announced the valda valkyrien production company, although the evidence that the company produced any films has yet to be found .
as a warrior, a soldier in a victorious army and a political activist who was used to dealing with the education of red army soldiers, i entered cinema in order to attack this kind of film, to defeat it and to arm cinema with the new, rich political genre of satire (ibid. : 167) .
it is now well established that the phasing out of women paralleled the development of the motion picture business into the corporate studio system, in place by the mid - 1920s. yet the exceptions to the “over by 1925” rule are important. (6) many writers and most editors continued to work within the studio system, and a few companies started by hollywood insiders remained, such as the dorothy davenport reid company, mrs. wallace reid productions, operating from 1924 to 1929, and leah baird productions, started with cool producer arthur beck, and lasting from 1921 to 1927 .
two thieves, the blackbird and west end bertie, fall in love with the same girl, a french nightclub performer named fifi. each man tries to outdo the other to win her heart.
the shock is a 1923 american silent drama film directed by lambert hillyer and starring lon chaney as a cripple named wilse dilling . the film was based on a story by william dudley pelley . this is one of the rare lon chaney films where he gets the girl . 
the shock is a 1923 american silent drama film directed by lambert hillyer and starring lon chaney as a cripple named wilse dilling. the film was based on a story by william dudley pelley. this is one of the rare lon chaney films where he gets the girl.
the shock is a 1923 american silent drama film directed by lambert hillyer and starring lon chaney as a cripple named wilse dilling. the film was based on a story by william dudley pelley. this is one of the rare lon chaney films where he gets the girl.