By Charlie Keil, Ben Singer
The essays in American Cinema of the 1910s discover the quick advancements of the last decade that started with D. W. Griffith's unmatched one-reelers. through mid-decade, multi-reel function movies have been profoundly reshaping the and deluxe theaters have been outfitted to draw the broadest attainable viewers. Stars like Mary Pickford, Charlie Chaplin, and Douglas Fairbanks turned extremely important and corporations started writing high-profile contracts to safe them. With the outbreak of worldwide struggle I, the political, fiscal, and commercial basis was once laid for American cinema's worldwide dominance. via the top of the last decade, filmmaking had turn into a real undefined, whole with vertical integration, effective specialization and standardization of practices, and self-regulatory agencies.
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Additional resources for American Cinema of the 1910s : Themes and Variations
This was also the year when the monopolistic Motion Picture Patents Company—known to most simply as “the Trust”—was at its most powerful, but behind the scenes came the ﬁrst hints that the industry was already growing out of its control. An early indication of the emerging star system came when Carl Laemmle’s aggressive Independent Moving Picture Company (known by its IMP or “Imp” acronym) tempted away the most recognizable actresses— Florence Lawrence and then eighteen-year-old Mary Pickford—from the Biograph Company, which was holding out against mention of its actors’ names.
That is, movie patrons—“these same young persons”—could “stroll through the lobbies of half a dozen Los Angeles hotels” and “encounter the majority of the characters they have admired upon the screen” (“New Hero”). As another February Los Angeles Times article noted about location shooting, “The participants have been handicapped by the number of spectators. That is one of the things most dreaded by the picture actors” (“In the Motion”). Movie fan culture had evidently arrived. A. dateline of such news items seems unremarkable now, but that winter of 1909–10 was the ﬁrst time major ﬁlmmaking companies put down roots on the West Coast.
Again, almost all of the year’s surviving examples are Biograph ﬁlms directed by D. W.