Early American Cinema In Transition: Story, Style, And Filmmaking, 1907-1913 (wisconsin Studies In Film, Kristin Thompson, Supervising Editor; David Bordwell And Vance Kepley, Jr., General Editors)

The period 1907–1913 marks a crucial transitional moment in American cinema. As moving picture shows changed from mere novelty to an increasingly popular entertainment, fledgling studios responded with longer running times and more complex storytelling. A growing trade press and changing production procedures also influenced filmmaking. In Early American Cinema in Transition , Charlie Keil looks at a broad cross-section of fiction films to examine the formal changes in cinema of this period and the ways that filmmakers developed narrative techniques to suit the fifteen-minute, one-reel format. Keil outlines the kinds of narratives that proved most suitable for a single reel’s duration, the particular demands that time and space exerted on this early form of film narration, and the ways filmmakers employed the unique features of a primarily visual medium to craft stories that would appeal to an audience numbering in the millions. He underscores his analysis with a detailed look at six films: The Boy Detective; The Forgotten Watch; Rose O’Salem-Town; Cupid’s Monkey Wrench; Belle Boyd, A Confederate Spy; and Suspense. The Period 1907-1913 Marks A Crucial Transitional Moment In American Cinema. As Moving Picture Shows Changed From Mere Novelty To An Increasingly Popular Entertainment, Fledgling Studios Responded With Longer Running Times And More Complex Storytelling. A Growing Trade Press And Changing Production Procedures Also Influenced Filmmaking. In Early American Cinema In Transition, Charlie Keil Looks At A Broad Cross-section Of Fiction Films To Examine The Formal Changes In Cinema Of This Period And The Ways That Filmmakers Developed Narrative Techniques To Suit The Fifteen-minute, One-reel Format. Keil Outlines The Kinds Of Narratives That Proved Most Suitable For A Single Reel's Duration, The Particular Demands That Time And Space Exerted On This Early Form Of Film Narration, And The Ways Filmmakers Employed The Unique Features Of A Primarily Visual Medium To Craft Stories That Would Appeal To An Audience Numbering In The Millions. Introduction -- Boom Time In The Moving-picture Business: Inndustrial Structure, Production Practices, And The Trade Press -- A Story Vital And Unified In Its Action: The Demands Of Narrative -- An Immeasurably Greater Freedom: Time And Space In Transitional Cinema -- The Modern Technique Of Art: The Style Of Transitional Cinema -- Analyzing Transition: Six Sample Films -- Conclusion. Charlie Keil. Filmography: P. 270-286. Includes Bibliographical References (p. 287-295) And Indexes. The period 1907–1913 marks a crucial transitional moment in American cinema. As moving picture shows changed from mere novelty to an increasingly popular entertainment, fledgling studios responded with longer running times and more complex storytelling. A growing trade press and changing production procedures also influenced filmmaking. In __Early American Cinema in Transition__, Charlie Keil looks at a broad cross-section of fiction films to examine the formal changes in cinema of this period and the ways that filmmakers developed narrative techniques to suit the fifteen-minute, one-reel format. Keil outlines the kinds of narratives that proved most suitable for a single reel’s duration, the particular demands that time and space exerted on this early form of film narration, and the ways filmmakers employed the unique features of a primarily visual medium to craft stories that would appeal to an audience numbering in the millions. He underscores his analysis with a detailed look at six films: __The Boy Detective; The Forgotten Watch; Rose O’Salem-Town; Cupid’s Monkey Wrench; Belle Boyd, A Confederate Spy;__ and __Suspense.__ Contents 8 Tables 10 Acknowledgments 12 1. Introduction 18 2. “Boom Time in the Moving-Picture Business” : Industrial Structure, Production Practices, and the Trade Press 35 3. “A Story Vital and Unified in Its Action” : The Demands of Narrative 60 4. “An Immeasurably Greater Freedom” : Time and Space in Transitional Cinema 98 5. “The Modern Technique of the Art” : The Style of Transitional Cinema 140 6. Analyzing Transition: Six Sample Films 190 7. Conclusion 220 Appendix A: Notes on Method 232 Appendix B: Shot-by-Shot Analyses for Chapter 6 235 Notes 251 Filmography: Viewed Titles, 1907–1913 285 Works Cited 302 Film Index 311 General Index 316