The History of Motion Pictures

By Maurice Bardèche; Robert Brasillach et al. | Go to book overview

retreat, the troops marching into Strasbourg, the Victory Parades in all the capitals. Here are the Americans, slain by the thousands the first time they went into battle, the turbaned Indians and that strange white war of the Italians in white uniforms amid the Alpine snows. There must be much else also hidden away in the archives, awaiting the hand of a master editor. The little that we have seen, usually issued upon the occasion of the death of some distinguished figure like Albert of Belgium, Alexander of Serbia or Clemenceau, or in one of the clumsy war-record films, remains of abiding interest. In these artless reels, born of accident and catastrophe, is some of the finest material of all the war years.


1. The Italian Film

IN OTHER countries film production continued as before. For the first months of the war Italy was not a participant, and when she did come in, her position was such that she could easily continue to turn out those movie spectacles so popular at the time.

Each big producing firm in Italy had its own company of actors under annual contract. Actors like Emilio Ghione (who was a director as well as an actor, and has written a brief essay on the Italian film), actresses like Maria Jacobini, Gianna Terribili- Gonzales of the unforgettable name, and the pre-eminent star Francesca Bertini, directors like Gabriellino d'Annunzio, Negroni, Righelli and Guazzoni all made up a picturesque and lively group. There were also Augusto Genina and Carmine Gallone, who were later to direct some fairly good films in France. Ghione's films, such as The Masked Amazon and particularly the series called Za-la-Mort, as well as those of Negroni and of Pasquali ( Gipsy Love, Between Men and Beasts, etc.), all exhibited the same emphatic style, the same rather touching naïveté, the same overabundance of gestures and declamatory motions. The worst faults of the American film were already apparent here, and on an even larger scale. Film stars in Turin and Rome were far more pretentious and exigent than they have ever been in Hollywood.

-95-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
The History of Motion Pictures
Table of contents

Table of contents

  • Title Page ii
  • Contents v
  • Foreword xi
  • Translator's Note *
  • Part One - The Birth of the Film 1895-1908 1
  • Part Two - The Prewar Film 1908-1914 37
  • Part Three - The Cinema during the World War 1914-1918 91
  • 1 - The Italian Film 95
  • 2 - The American Film 98
  • 3 - The French Film 127
  • 4 - The German Film and the Danish Film 134
  • 5 - The Swedish Film 136
  • 6 - The Russian Film 140
  • Part Four - The Emergence of an Art 1919-1923 145
  • 1 - The French Film 147
  • 2 - The Russian Film 168
  • 4 - The German Film 187
  • 5 - The Italian Film 196
  • 6 - The American Film 199
  • Part Five - The Classic Era of the Silent Film 1923-1929 223
  • 1 - The French Film 225
  • 2 - The German Film 251
  • 3 - The Scandinavian Film 263
  • 4 - The Russian Film 266
  • 5 - The American Film 283
  • 6 - The Death of Art 300
  • Part Six - The Talking Films 1929-1935 303
  • 1 - The American Film 305
  • 3 - The German Film 341
  • 4 - The Russian Film 353
  • 5 - A World Industry 361
  • Part Seven - Forty Years of Film 367
  • Editorial Postscript: 1935-1938 381
  • Index of Film Titles 391
  • General Index 405
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
/ 412

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Author Advanced search

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.