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
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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Additional info for American Cinema of the 1920s: Themes and Variations
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).