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 endured 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
Big ﬁnancial interests with consequent efforts to control both the producing and distributing ends of the business,” as well as the initial movement toward wide-scale vertical integration by the industry’s various owners (Aronson). Acquisition of Metro, funded by a combination of public stock offerings by Loew’s Inc. and a sizeable loan from Wall Street banking syndicates, was speciﬁcally a competitive reaction by Loew to Adolph Zukor’s obtainment of his own chain of theaters, designed to show the movies of his successful studio, Famous Players Company.
In Allen 53–54) In many ﬁlms (like The Big Parade, which contained a comic scene of GIs inebriated and partying in Paris), the excesses of youthful drinking during Prohibition were treated lightly. ” In other works, however, the consequences of overindulgence were given a tragic spin. In Our Dancing Daughters, for example, a tipsy young woman falls to her death down a steep ﬂight of stairs. Signiﬁcantly, while the bar of the pre-Prohibition era was a decidedly male bastion, the speakeasy catered to both sexes (Allen 86; Miller 102).
In Pollyanna, Mary Pickford incarnates her established role as “little Mary,” despite being twenty-six at the time. As the title indicates, she plays a perennially optimistic girl who, though paralyzed, triumphs merrily over adversity. Suds (which ran in Coshocton, Ohio) gives Pickford a chance at a less sunny role as Amanda, a London laundress whose dreams of being saved by an imaginary Prince Charming come to naught. Pickford’s new husband, Douglas Fairbanks, also appears in a ﬁlm of the year—Zorro—which gives him an opportunity to display his athletic skills in yet another swashbuckling adventure.
American Cinema of the 1920s: Themes and Variations 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