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Relevant bibliographies by topics / American Silent films American drama

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Academic literature on the topic 'American Silent films American drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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Journal articles on the topic "American Silent films American drama"

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Ciavolella, Massimo. "Francesca da Rimini in American silent films." Dante e l'Arte 7 (December 1, 2020): 175. http://dx.doi.org/10.5565/rev/dea.139.

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Welsh, James. "The Last Silent Picture Show: Silent Films on American Screens in the 1930s by William M. Drew." Journal of American Culture 34, no. 1 (January 2011): 110–11. http://dx.doi.org/10.1111/j.1542-734x.2011.00766_15.x.

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Vital, Feofania Yu. "Emotional Influence on the Viewer in Contemporary American Cinema." Journal of Flm Arts and Film Studies 8, no. 1 (March 15, 2016): 91–104. http://dx.doi.org/10.17816/vgik8191-104.

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The article studies the methods and means used in modern American film drama to control the audiences emotional state, sorting out the major techniques of such control as exemplified by specific films. The main focus is on the catharsis as the key moment of watching a film.

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Rudy, Rudy. "THE DEPICTION OF HOMOSEXUALITY IN AMERICAN MOVIES." Jurnal Humaniora 28, no. 1 (June 4, 2016): 59. http://dx.doi.org/10.22146/jh.v28i1.11502.

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This study focuses on the depiction of homosexuality in American films. It is intended to identify the images of gays depicted in American films as well as the characteristics of American gay movies. It incorporates library research by applying an analytical descriptive approach in analyzing the data. The symbol and reflective theory is used to analyze 18 American movies and 14 gay films from other countries in the early 2000s. It shows that gay films can attract audiences by describing gays as the objects for laughs; gays revealing their sexual identities; sexual scenes of gays; masculine gay men; and violence in gay life. They appear in genres like drama, comedy, romance, detective, western, and horror/mystery with two images of gay people shown in American gay movies; they are the portrait of gays as a minority and the pessimism. However, it also shows that some American gay films picture good gay life, happy gay couples, gay marriage, etc.

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Simmon, Scott, and Andrew Brodie Smith. "Shooting Cowboys and Indians: Silent Western Films, American Culture, and the Birth of Hollywood." Western Historical Quarterly 36, no. 3 (October 1, 2005): 370. http://dx.doi.org/10.2307/25443200.

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Buscombe, Edward. "Shooting Cowboys and Indians: Silent Western Films, American Culture, and the Birth of Hollywood." Film Quarterly 60, no. 2 (2006): 75–76. http://dx.doi.org/10.1525/fq.2006.60.2.75.1.

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Yunis, Alia, and Gaelle Picherit-Duthler. "Tramps vs. Sweethearts: Changing Images of Arab and American Women in Hollywood Films." Middle East Journal of Culture and Communication 4, no. 2 (2011): 225–43. http://dx.doi.org/10.1163/187398611x571382.

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AbstractThe portrayal of Arab women in Hollywood from the silent movies to today stands in sharp contrast to the portrayal of American women over the same time period and can be defined by off screen politics. By examining important American films over nearly 100 years, this article describes Arab and American women characters through five political-historical phases of US international relations that define their Hollywood images: 1) pre-World War II, 2) from World War II to the 1960s, 3) the 1970s, 4) the 1980s to 11 September 2001 and 5) post-9/11. The analysis reveals a variety of archetypes for both Arab and American women, but the main finding suggests a limited role for American women and the near absence of Arab women in Hollywood movies. Independent filmmakers and upcoming Arab-American movie makers may yet be able to fill this void.

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Shrock, Joel. "Desperate Deeds, Desperate Men: Gender, Race, and Rape in Silent Feature Films, 1915–1927." Journal of Men’s Studies 6, no. 1 (October 1997): 69–89. http://dx.doi.org/10.1177/106082659700600104.

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Many of the top-grossing feature films spanning from 1915–1927 utilized rape as a device for defining manhood and thereby establishing power relationships. The images of rape in these silent films idealized the power of respectable white men over the men and women of other classes and races and subordinated the women from their own social station. These movies constructed white men as heroes and guardians of morality and civilization, white women as frail but morally superior figures, and African-American and immigrant men and women as uncontrollable sexual deviants who threatened civilization. These films reflected the fears of the white middle class that massive immigration, waves of black migration to the North, and the increasingly public role of women were irrevocably changing American society and threatening the power of the traditional dominant group in the United States: white middle- and upper-class men.

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Rabinovitz, Lauren. "Past Imperfect: Feminism and Social Histories of Silent Film." Cinémas 16, no. 1 (June 12, 2006): 21–34. http://dx.doi.org/10.7202/013049ar.

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Abstract Picking up on recent feminist calls for an emphasis on social histories of cinema, the author argues for the importance of socio-historical contextualization in order to preserve feminist goals of critiquing epistemologies and power relations. Analyzing two early Edison films, she shows that the historical importance of each can be located in the ways they depict ideological confusion over female sexuality and mobility in changing urban spaces. Through socio-cultural contextualization, she further illuminates how Laughing Gas (Edison, 1907) depicts social tensions about the national rise of African American female domestics.

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Davis, Robert Murray. "Shooting Cowboys and Indians: Silent Western Films, American Culture, and the Birth of Hollywood by Andrew Brodie Smith." Western American Literature 39, no. 4 (2005): 465–66. http://dx.doi.org/10.1353/wal.2005.0061.

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Dissertations / Theses on the topic "American Silent films American drama"

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Slagle, Jefferson D. "In the flesh authenticity, nationalism, and performance on the American frontier, 1860-1925 /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1150295077.

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Hart, Hilary. "Sentimental spectacles : the sentimental novel, natural language, and early film performance /." view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3120625.

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Thesis (Ph. D.)--University of Oregon, 2004.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 176-181). Also available for download via the World Wide Web; free to University of Oregon users.

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Polirsztok, Marion. "Le spectacle des siècles dans le cinéma muet américain : d'Intolérance à Noah's Ark (1916-1928)." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080003.

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Entre 1916 et 1928, un certain nombre de films muets américains expérimentent les formes complexes d’un assemblage ostensiblement articulé entre un ou des récits situés dans le passé (historique, antique ou biblique) et un récit situé à l’époque moderne. Nous avons appelé cet assemblage le « Spectacle des Siècles », suivant la formule publicitaire rencontrée sur l’affiche d’un de ces films, Noah’s Ark (M. Curtiz, 1928). Les films du Spectacle des Siècles ne se confondent pas avec les films historiques ou bibliques également mis en scène dans le cinéma muet, et qui supposent une action unique et une diégèse centrée autour de la période reconstituée. Les films étudiés font dialoguer passés et présents en relatant une multiplicité d’époques, de décors, d’actions et de personnages. Cette recherche se propose de mettre en lumière outre la variété des contenus, les diverses solutions d’assemblage élaborées par ces films pour aboutir à l’harmonie d’une œuvre cohérente. Les formes originales imaginées par les cinéastes font apparaître les multiples passages, transferts et métamorphoses de ces parallèles entre le passé et le présent, l’ancien et le nouveau. Elles interrogent ce que les films ont à dire sur leur siècle, en instaurant un présent démultiplié et orienté vers de nouvelles promesses. Ainsi les films du Spectacle des Siècles donnent à lire un moment de l’histoire du cinéma muet américain qui connut une brève période d’activité
Between 1916 and 1928, some American silent films are in search of putting together one or several stories set in the past (historical, ancient, biblical) and one story set in the modern times, thus displaying complex cinematic forms conspicuously articulated. We called this assembling the « Spectacle of the Ages », according to the advertising formula encountered on the poster of one of these films, Noah’s Ark (M. Curtiz, 1928). The films of the Spectacle of the Ages are not to be confused with biblical or historical films – also produced in silent cinema – which assume a single action and a diegesis focused on the reenacted period. The films we are to sudy here confront the past with the present, by telling multiple ages, sets, actions and characters. Beyond the variety of these stories, this research aims to highlight the various assembling solutions created by the filmmakers to achieve a coherent and harmoniously shaped work of art. These cinematic forms show various passages, translations, metamorphosis of the parallels between the past and the present, the old and the new, thus revealing something of their Age and of a promising future. We perceive in the Spectacle of the Ages a short-lived moment in the history of American silent cinema

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Hart, Hilary 1969. "Sentimental spectacles : the sentimental novel, natural language, and early film performance." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/297.

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Advisor: Mary E. Wood. xii, 181 leaves : ill. ; 29 cm. Print copy also available for check out and consultation in the University of Oregon's library under the call number: PS374.S714 H37 2004.
The nineteenth-century American sentimental novel has only in the last twenty years received consideration from the academy as a legitimate literary tradition. During that time feminist scholars have argued that sentimental novels performed important cultural work and represent an important literary tradition. This dissertation contributes to the scholarship by placing the sentimental novel within a larger context of intellectual history as a tradition that draws upon theoretical sources and is a source itself for later cultural developments. In examining a variety of sentimental novels, I establish the moral sense philosophy as the theoretical basis of the sentimental novel's pathetic appeals and its theories of sociability and justice. The dissertation also addresses the aesthetic features of the sentimental novel and demonstrates again the tradition's connection to moral sense philosophy but within the context of the American elocution revolution. I look at natural language theory to render more legible the moments of emotional spectacle that are the signature of sentimental aesthetics. The second half of the dissertation demonstrates a connection between the sentimental novel and silent film. Both mediums rely on a common aesthetic storehouse for signifying emotions. The last two chapters of the dissertation compare silent film performance with emotional displays in the sentimental novel and in elocution and acting manuals. I also demonstrate that the films of D. W. Griffith, especially The Birth of a Nation, draw upon on the larger conventions of the sentimental novel.

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Fusco, Katherine A. "Time material temporality, narrative, and modernity in silent film and American naturalism /." Diss., 2008. http://etd.library.vanderbilt.edu/ETD-db/available/etd-07282008-121704/.

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Books on the topic "American Silent films American drama"

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Förster, Annette. Women in the Silent Cinema. NL Amsterdam: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789462989955.

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This magisterial book offers comprehensive accounts of the professional itineraries of three women in the silent film in the Netherlands, France and North America. Annette Förster presents a careful assessment of the long career of Dutch stage and film actress Adriënne Solser; an exploration of the stage and screen careers of French actress and filmmaker Musidora and Canadian-born actress and filmmaker Nell Shipman; an analysis of the interaction between the popular stage and the silent cinema from the perspective of women at work in both realms; fresh insights into Dutch stage and screen comedy, the French revue and the American Northwest drama of the 1910s; and much more, all grounded in a wealth of archival research.

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American silent film. New York: Da Capo Press, 1998.

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Langman, Larry. A guide to American silent crime films. Westport, Conn: Greenwood Press, 1994.

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4

American film cycles: The silent era. Westport, Conn: Greenwood Press, 1998.

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5

American animated films: The silent era, 1897-1929. Jefferson, N.C: McFarland & Co., 1990.

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Braff, Richard E. Silent short films, 1903-1929: An American filmography. Jefferson: McFarland, 2002.

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Navarro, Dan. Navarro's silent film guide: A comprehensive look at American silent cinema. Los Angeles: New University Press LLC, 2013.

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McCaffrey, Donald W. Guide to the silent years of American cinema. Westport, Conn: Greenwood Press, 1999.

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Council on Library and Information Resources, Library of Congress, and National Film Preservation Board (U.S.), eds. The survival of American silent feature films, 1912-1929. Washington, D.C: Council on Library and Information Resources and The Library of Congress, 2013.

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Henry, Nicolella, Joyce Steve 1952-, and Long Harry, eds. American silent horror, science fiction and fantasy feature films, 1913-1929. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2012.

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Book chapters on the topic "American Silent films American drama"

1

Bilton, Alan. "Accelerated Bodies and Jumping Jacks: Automata, Mannequins and Toys in the Films of Charlie Chaplin." In Silent Film Comedy and American Culture, 78–110. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137020253_4.

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Buhler, James, and Catrin Watts. "The Moving Picture World, W. Stephen Bush and the American Reception of European Cinema Practices, 1907–1913." In The Sounds of Silent Films, 103–22. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137410726_7.

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Guthrie, Ricardo. "Oprah Winfrey and the Trauma Drama: “What’s So Good About Feeling Bad?”." In Presenting Oprah Winfrey, Her Films, and African American Literature, 45–78. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137282460_3.

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"Silent American Films in Soviet Russia in the 1920s." In ‘Russian Americans’ in Soviet Film. I.B.Tauris, 2015. http://dx.doi.org/10.5040/9780755694945.ch-001.

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Ibarra, Enrique Ajuria. "Latin American Gothic." In Twenty-First-Century Gothic, 263–75. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440929.003.0019.

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Recently, scholarly criticism has acknowledged the presence of the Gothic in Latin America, which should be distinguished from magic realism and the fantastic. Latin American Gothic evinces regional, tropicalised and hybridised nuances that not only adapt the mode to specific cultural and regional anxieties, but also have helped coin terms such as ‘Tropical Gothic’. On the other hand, Guillermo delToro’s popularity has brought attention to Latin American Gothic horror in twenty-first-century visual media and how it address issues of identity, folklore and haunting. This chapter analyses the appropriation of Gothic motifs in the films Somos lo que hay (We are What We Are, 2010), La casa muda(The Silent House, 2010) and Juan de losmuertos(Juan of the Dead, 2011). It explores Tropical Gothic, medicine and faith in the TV series Niño santo (2011–14) and reviews the #CharlieCharlieChallenge trending topic on social media as an everyday Gothic experience.

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"three. A Filmic Grand Tour: American Silent Films “Made in Italy”." In Napoli/New York/Hollywood, 100–156. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823279401-004.

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Kornhaber, Donna. "3. Making films in the silent era." In Silent Film: A Very Short Introduction, 54–87. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780190852528.003.0004.

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“Making films in the silent era” looks at the business of film production and the attempts of early pioneers to forge new cinematic styles. Women were central to silent film, with some holding positions of power equal to men and running studios before they were able to vote in the United States—a condition that came to a close with the rise of “talkies.” African American filmmakers, Asian American filmmakers, and others connected with audiences by bypassing the Hollywood system. The genres of silent film in some cases appear wholly distinct from later filmmaking trends and in other cases presage such mainstay forms as horror, sci-fi, and the Western, which existed alongside modes of filmmaking like animation and documentary that persisted into later eras.

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Rennie, David A. "Laurence Stallings." In American Writers and World War I, 134–53. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198858812.003.0007.

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Perhaps more than any author, Stallings exemplified the multimedia and collaborative nature of World War I writing in America. Following his bitter anti-war novel Plumes, Stallings co-authored the popular play What Price Glory with Maxwell Anderson, which led to Stallings’s involvement in The Big Parade—one of the most lucrative films of the silent era—and a film adaptation of What Price Glory As well as his diversity of representational forms, Stallings’s war writing was marked by an increasingly positive attitude to warfare, which emerged in his later short stories and his World War I history, The Doughboys.

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"Chapter 5. Melodrama/Male Drama: The Sentimental Contract of American Labor Films." In Black & White & Noir, 121–41. Columbia University Press, 2002. http://dx.doi.org/10.7312/rabi11480-005.

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Smukler, Maya Montañez. "Hollywood Can’t Wait: Elaine May and the Delusions of 1970s American Cinema." In ReFocus: The Films of Elaine May, 41–62. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440189.003.0003.

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Elaine May began her career as a filmmaker during the 1970s when the mythology of the New Hollywood male auteur defined the decade; and the number of women directors, boosted by second wave feminism, increased for the first time in forty years. May’s interest in misfit characters, as socially awkward as they were delusional, and her ability to seamlessly move them between comedy and drama, typified the New Hollywood protagonist who captured America’s uneasy transition from the hopeful rebellion of the 1960s into the narcissistic angst of the 1970s. However, the filmmaker’s reception, which culminated in the critical lambast of her comeback film Ishtar in 1987, was uneven: her battles with studio executives are legendary; feminist film critics railed against her depiction of female characters; and a former assistant claimed she set back women directors by her inability to meet deadlines. This chapter investigates Elaine May’s career within the lore 1970s Hollywood to understand the industrial and cultural circumstances that contributed to the emergence of her influential body of work; and the significant contributions to cinema she made in spite of, and perhaps because of, the conflicts in which she was faced.

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