American Cinema of the 1920s: Themes and Variations by Lucy Fischer, Angela Dalle Vacche, Jennifer M. Bean, Sumiko

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

During the Twenties, sound revolutionized the movie and cinema endured as probably the most major and renowned varieties of mass leisure on the earth. movie studios have been remodeled into significant enterprises, hiring a bunch of craftsmen and technicians together with cinematographers, editors, screenwriters, and set designers. The beginning of the celebrity approach supported the meteoric upward push and big name prestige of actors together with Charlie Chaplin, Mary Pickford, Joan Crawford, Greta Garbo, and Rudolph Valentino whereas black performers (relegated to "race films") seemed on occasion in mainstream video clips. The vintage Hollywood movie sort was once perfected and important movie genres have been demonstrated: the melodrama, western, ancient epic, and romantic comedy, besides slapstick, technology fiction, and fantasy.

In ten unique essays, American Cinema of the 1920s examines the movie industry's persevered development and prosperity whereas targeting very important issues of the era.

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Griffith), in The Torrent (Garbo’s debut American film), the Swedish player formulates a new kind of screen woman: sophisticated, headstrong, alluring, and independent. Turim also considers masculine film genres of the year in her examination of Beau Geste, directed by Herbert Brenon and featuring Ronald Colman. ” Hence, she sees the movies of the year as struggling to “define gender,” oscillating between a variety of cinematic heroines and the nationalist male hero. The “New Woman as Consumer” is Sumiko Higashi’s interest in discussing the works of 1927.

Similarly, in The Kiss, released on 15 November 1929 (only seventeen days after the stock market crash), a character faces dire financial straits due to some market catastrophe. When he dies, people assume his financial loss has led him to suicide. Significantly, F. Scott Fitzgerald says that the Jazz Age “leaped to a spectacular death in October 1929” (13). ■■■■■■■■■■ Hooray for Hollywood “It is impossible now to even think of the saturation point for motion pictures. . ” (Halsey 214) Throughout the boom and bust of the twenties the American film industry continued to grow and prosper, finding ways to sell movies that celebrated the nation’s victories (war, prosperity, technology) and exploited its lapses (crime, Prohibition, scandal).

Scott Fitzgerald says that the Jazz Age “leaped to a spectacular death in October 1929” (13). ■■■■■■■■■■ Hooray for Hollywood “It is impossible now to even think of the saturation point for motion pictures. . ” (Halsey 214) Throughout the boom and bust of the twenties the American film industry continued to grow and prosper, finding ways to sell movies that celebrated the nation’s victories (war, prosperity, technology) and exploited its lapses (crime, Prohibition, scandal). A financial publication of 1926 reported the following statistics about American cinema: the nation had 20,000 movie theaters (two-fifths of the world’s total) (Halsey 172).

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