The Invention of the Teenager The automobile was monumental in the evolution of courtship.
At first there were difficulties in distributing features, because the exchanges associated with both the MPPC and the independents were geared toward cheaply made one-reel shorts.
Because of their more elaborate production values, features had relatively higher negative costs. This was a disadvantage to distributors, who charged a uniform price per foot. These new exchanges demonstrated the economic advantage of multiple-reel films over shorts.
Exhibitors quickly learned that features could command higher admission prices and longer runs; single-title packages were also cheaper and easier to advertise than programs of multiple titles. As for manufacturing, producers found that the higher expenditure for features was readily amortized by high volume sales to distributors, who in turn were eager to share in the higher admission returns from the theatres.
The whole industry soon reorganized itself around the economics of the multiple-reel film, and the effects of this restructuring did much to give motion pictures their characteristic modern form. Feature films made motion pictures respectable for the middle class by providing a format that was analogous to that of the legitimate theatre and was suitable for the adaptation of middle-class novels and plays.
This new audience had more demanding standards than the older working-class one, and producers readily increased their budgets to provide high technical quality and elaborate productions.
The new viewers also had a more refined sense of comfort, which exhibitors quickly accommodated by replacing their storefronts with large, elegantly appointed new theatres in the major urban centres one of the first was Mitchell L. By there were more than 21, movie theatres in the United States.
Before the new studio-based monopoly could be established, however, the patents-based monopoly of the MPPC had to expire, and this it did about as a result of its own basic assumptions. As conceived by Edison, the 1920s essay operating principle of the Trust was to control the industry through patents pooling and licensing, an idea logical enough in theory but difficult to practice in the context of a dynamically changing marketplace.
Furthermore, the Trust badly underestimated the importance of the feature film, permitting the independents to claim this popular new product as entirely their own. Trust company producers used this kind of publicity afterwhen Carl Laemmle of Independent Motion Pictures IMP promoted Florence Lawrence into national stardom through a series of media stunts in St.
Finally, and most decisively, in August the U. As a result of the nickelodeon boom, some exhibitors—who showed three separate programs over a seven-day period—had begun to require as many as 20 new films per week, and it became necessary to put production on a systematic year-round schedule.
Because most films were still shot outdoors in available light, such schedules could not be maintained in the vicinity of New York City or Chicago, where the industry had originally located itself in order to take advantage of trained theatrical labour pools.
As early asproduction companies, such as Selig Polyscope, began to dispatch production units to warmer climates during winter.
It was soon clear that what producers required was a new industrial centre—one with warm weather, a temperate climate, a variety of scenery, and other qualities such as access to acting talent essential to their highly unconventional form of manufacturing.
Various companies experimented with location shooting in Jacksonville, Fla. These included the temperate climate required for year-round production the U. Weather Bureau estimated that an average of days per year were sunny or clear ; a wide range of topography within a mile km radius of Hollywood, including mountains, valleys, forests, lakes, islands, seacoast, and desert; the status of Los Angeles as a professional theatrical centre; the existence of a low tax base; and the presence of cheap and plentiful labour and land.
This latter factor enabled the newly arrived production companies to buy up tens of thousands of acres of prime real estate on which to locate their studios, standing sets, and backlots.
By approximately 15, workers were employed by the motion-picture industry in Hollywood, and more than 60 percent of American production was centred there. The most powerful companies in the new film capital were the independents, who were flush with cash from their conversion to feature production.
Mayer Pictures, founded by Louis B.
These organizations became the backbone of the Hollywood studio system, and the men who controlled them shared several important traits. They were all independent exhibitors and distributors who had outwitted the Trust and earned their success by manipulating finances in the postnickelodeon feature boom, merging production companies, organizing national distribution networks, and ultimately acquiring vast theatre chains.
Not incidentally, these men were all first- or second-generation Jewish immigrants from eastern Europe, most of them with little formal education, while the audience they served was 90 percent Protestant and Catholic. This circumstance would become an issue during the s, when the movies became a mass medium that was part of the life of every U.
These films were long on intellectual pedigree and short on narrative sophistication. The directors simply filmed theatrical productions in toto, without adaptation.
Their brief popularity nevertheless created a context for the lengthy treatment of serious material in motion pictures and was directly instrumental in the rise of the feature. No country, however, was more responsible for the popularity of the feature than Italy.
The Italian superspectacle stimulated public demand for features and influenced such important directors as Cecil B. DeMille, Ernst Lubitsch, and especially D.
Griffith There has been a tendency in modern film scholarship to view the narrative form of motion pictures as a development of an overall production system. Although narrative film was and continues to be strongly influenced by a combination of economic, technological, and social factors, it also owes a great deal to the individual artists who viewed film as a medium of personal expression.
Chief among these innovators was D.Return to Responses, Reflections and Occasional Papers // Return to Historical Writings. Reflections on Ellen Schrecker and Maurice Isserman's essay, "The Right's Cold War Revision".
Arguably, the flappers of the s were kind of a beginning of another change in the life of women. There was a surplus of women in Britain; this was caused by the loss of many men to the war. In this era women was done with their old way of lifestyle. Login to access the Upswing Virtual Learning Center for Houston Community College.
The automobile was monumental in the evolution of courtship. High speed and moonlight drives inspired a spirit of reckless abandon. In the 19th century, the American world consisted of children and adults.
Most Americans tried their best to allow their children to enjoy their youth while they were. (This essay is excerpted and modified from Teaching About Women in China and Japan, by Lyn Reese, found in Social Education, NCSS, March ) (the Ch’ien T’ao poem is from Kenneth Rexroth & Ling Chung, Women Poets of China, New Directions Book, ).
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