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University of Exeter Press - Julie K. Allen

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323 pages

English

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Through a detailed study of the circulation of European silent film in Australasia in the early twentieth century, this book challenges the historical myopia that treats Hollywood films as having always dominated global film culture.

Before World War I, European silent feature films were ubiquitous in Australia and New Zealand, teaching Antipodean audiences about Continental cultures and familiarizing them with glamorous European stars, from Asta Nielsen to Emil Jannings. After the rise of Hollywood and then the shift to sound film, this history—and its implications for cross-cultural exchange—was lost. Julie K. Allen recovers that history, with its flamboyant participants, transnational currents, innovative genres, and geopolitical complications, bringing it all vividly to life.

Making ground-breaking use of digitized Australian and New Zealand newspapers, the author reconstructs the distribution and exhibition of European silent films in the Antipodes, along the way incorporating compelling biographical sketches of the ambitious pioneers of the Australasian cinema industry. She reveals the complexity and competitiveness of the early cinema market, in a region with high consumer demand and low domestic production, and frames the dramatic shift to almost exclusively American cinema programming during World War I, contextualizing the rise of the art film in the 1920s in competition with mainstream Hollywood productions.

List of Figures

Acknowledgments

Part I: Film Distribution and Exhibition in Australasia before World War I

1. “A Window of the World”: Distribution and Exhibition of Early Film in Settler-Colonial Australasia

2. The Anglo-American Fathers of the Australian Combine: Cosens Spencer, T. J. West, and J. D. Williams

3. Trans-Tasman Cinema Traffic: Film Distribution and Exhibition in New Zealand Through World War I

Part II: European Films on Australasian Screens Through 1917

4. “THEIR WORK STANDS SUPREME”: Pathé Frères, Sarah Bernhardt, and French Art Films

5. “The most important event in the annals of the biograph in Australia”: The Triumph of Italian Historical Epics

6. “Like the hallmark on silver”: The Unquestioned Quality of Nordic Films

7. The Female Faces of German Film Abroad: Asta Nielsen, Henny Porten, and Madame Saharet

8. “We Fear No Combine”: Clement Mason’s European Film Imports in 1913

Part III: Competing with Hollywood on Quality

9. “Films as Foreign Offices:” Mason Super Films’ Promotion of Swedish and Italian Art Film in Australasia, 1919-25

10. The Rise of UFA, Cinema Art Films, and Anglo-German Solidarity against Hollywood

Works Cited

Appendix: Film List

Sujets

Informations

Publié par	University of Exeter Press
Date de parution	19 avril 2022
Nombre de lectures	0
EAN13	9781905816880
Langue	English
Poids de l'ouvrage	1 Mo

Informations légales : prix de location à la page 0,0005€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Screening Europe in Australasia

Exeter Studies in Film History

Series Editors: Richard Maltby, Matthew Flinders Distinguished Emeritus Professor of Screen Studies, Flinders University Helen Hanson, Associate Professor in Film History at the University of Exeter and Academic Director of the Bill Douglas Cinema Museum Joe Kember, Professor in Film Studies at the University of Exeter

Exeter Studies in Film Historyis devoted to publishing the best new scholarship on the cultural, technical and aesthetic history of cinema. The aims of the series are to reconsider established orthodoxies and to revise our understanding of cinema’s past by shedding light on neglected areas in film history.

Published by University of Exeter Press in association with the BillDouglas Centre for the History of Cinema and Popular Culture, the series includes monographs and essay collections, translations of major works written in other languages, and reprinted editions of important texts in cinema history.

Previously published titles in the series are listed at the back of this volume

Screening Europe in Australasia

First published in 2022 by University of Exeter Press Reed Hall, Streatham Drive Exeter EX4 4QR, UK

www.exeterpress.co.uk

The right of Julie K. Allen to be identified as author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988.

This book’s publication was made possible by a subvention from Brigham Young University. An additional subvention from Goethe University made the Gold Open Access version of the book possible.

Exeter Studies in Film History A CIP catalogue record for this book is available from the British Library.

This book is published under a Creative Commons Attribution Non-Commercial No Derivatives 4.0 International licence (CC BY-NC-ND 4.0). This license requires that reusers give credit to the creator. It allows reusers to copy and distribute the material in any medium or format, for non-commercial purposes only. If others remix, adapt, or build upon the material, they may not distribute the modified material.

https://doi.org/10.47788/ITZE9134

Further details about Creative Commons licences are available at http://creativecommons.org/licenses/

Any third-party material in this book is published under the book’s Creative Commons licence unless indicated otherwise in the credit line to the material. If you would like to reuse any third-party material not covered by the book’s Creative Commons licence, you will need to obtain permission directly from the copyright holder.

ISBN 978-1-905816-87-3 Hbk ISBN 978-1-905816-88-0 ePub ISBN 978-1-905816-89-7 PDF

Cover image: Asta Nielsen inDen sorte Drøm/The Circus Girl, 1911 (Fotorama/The Danish Film Institute, Copenhagen; reuse not permitted)

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