By Lucy Fischer, Angela Dalle Vacche, Jennifer M. Bean, Sumiko Higashi, Professor Michael Aronson, Professor Mark Anderson, Professor Sara Ross, Professor Gwenda Young, Professor Maureen Turim, Marcia Landy
In ten unique essays, American Cinema of the 1920s examines the movie industry's endured progress and prosperity whereas concentrating on very important topics of the era.
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Jane Austen’s occupation as a novelist started in 1811 with the e-book of experience and Sensibility. Her paintings was once ultimately tailored for the massive monitor with the 1940 filming of delight and Prejudice (very winning on the field office). No different movie variation of an Austen novel was once made for theatrical free up till 1995.
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Extra resources for American Cinema of the 1920s: Themes and Variations
The Loves of Zero (1927), also involving a collaboration between Florey and Vorkapich, is another Expressionist drama (inﬂuenced by the German ﬁlm The Cabinet of Dr. Caligari ), made for only $200. It depicts (with distorted sets, canted camera angles, symbolic objects, split-screens, and prismatic photography) a heartrending love affair between a man and a woman that ends in the latter’s death. Hands—The Life and Loves of the Gentler Sex (1927–28), made by Stella Simon and Miklos Bandy (with music composed and performed by Mark Blitzstein), is a drama enacted entirely with people’s arms and hands set against an abstract background; it seeks to portray the tense and combative world of male-female relations.
Almost immediately, blame in the daily reports in the newspapers centered on anarchist groups, suspicions soon corroborated by a printed message found in a mailbox that same morning a few hundred yards from the explosion, proclaiming “Free the political prisoners. Or it will be sure death for all of you. ” Although no one was ever charged with the Wall Street attack, it was likely not a coincidence that on the day prior to the bombing, Galleanist anarchists Nicola Sacco and Bartolomeo Vanzetti had been indicted in Massachusetts for bank robbery and murder.
The Decade in Review The essays that follow examine the decade of the twenties on a year-by-year basis, discussing important themes of the era that intersect with the history of American ﬁlm. In his chapter on 1920 (“Movies, Margarine, and Main Street”), Michael Aronson places certain ﬁlms within the context of their exhibition. Rather than focus on the big city, he examines the practice in ﬁve small American towns in Pennsylvania, Ohio, Michigan, and Wisconsin. In so doing, he draws on local newspapers to track which ﬁlms were shown as well as how they were received and advertised.