Pearson - Transitional Cinema-3

General References
- Balio, Tino (ed.) (1985), The American Film Industry.
- Barnes, John (1976). The Beginnings of the Cinema in England.
- Bordwell, David, Staiger, Janet, and Thompson, Kristin (1985), The Classical Hollywood Cinema.
- Chanan, Michael (1980), The Dream that Kicks.
- Cherchi Usai, Paolo, and Codelli, Lorenzo (eds.) (1990), Before Caligari.
- Cosandey, Roland, Gaudreault, Andre, and Gunning, Tom (eds.) (1992), Une invention du diable?.
- Elsaesser, Thomas (ed.) (1990), Early Cinema: Space, Frame, Narrative.
- Fell, John L. (1983), Film before Griffith.
- Fell, John L. (1986), Film and the Narrative Tradition.
- Gunning, Tom (1986), The Cinema of Attractions.
- Holman, Roger (ed.) (1982), Cinema 1900–1906: An Analytic Study.
- Low, Rachael, and Manvell, Roger (1948), The History of the British Film, 1896–1906.
- Musser, Charles (1990), The Emergence of Cinema.
- Musser, Charles (1991), Before the Nickelodeon.

Average film length was approximately 1,000 feet, equating to about 15 minutes.
Emergence of feature films over an hour long, popularizing longer narratives.
Cinema of Narrative Integration:
- Included in transition to mainstream culture.
- Affecting censorship, films gained social respectability.

European film industries, particularly France, Italy, and Denmark, dominated prior to WWI.
60-70% of imported films in the US were French, with Pathe as the leading studio.
Early exhibition in venues similar to vaudeville or fairs; films integrated performance conventions from these media.

US film producers initially faced strong competition from European films, distributions began to shift by 1904.
By 1907, American production began an international expansion, establishing dominance by 1914 due to European war disruption.
Film Exchanges:
- Played a crucial role in distribution practices.
- Enabled producers to manage supply through renting films to nickelodeons.

Establishment of star systems influenced by theatre; leading to audience loyalty through recognizable actors.
Gradual transition from transient actors towards regular stock companies around 1908.
Major stars included Mary Pickford and Asta Nielsen, who crossed cultural and national boundaries.

Shift in filmmaking emphasis from theatre-like tableaux to closer, more elaborate cinematography.
Development of editing techniques corresponding to character emotion and narrative clarity.
Key editing techniques include the three-quarter shot and point-of-view shots.

Characters became psychologically credible through integrated narratives rather than relying on extra-textual knowledge.
Intertitles evolved from expository to dialogue-driven, enhancing character engagement.
Themes and character arcs expanded in response to audience expectation for relatable stories.

David Wark Griffith:
- Keyfigure influencing narrative form and editing, recognized for films such as The Birth of a Nation and Intolerance.
- Achieved new heights of cinematic storytelling, integrating social themes within compelling narratives.

Transition culminated around 1913, with established Hollywood practices taking root.
Introduction of multi-reel films as a standard, increasing dramatic depth and character development.
Films began using codified structures and practices developed during the transitional years, such as elaborate narrative constructions and character coherence.

By 1917, increased respect for cinema as a legitimate art form, moving away from its previous status as mere entertainment.
Films began to reflect broader cultural narratives and social issues, enhancing their relevance to contemporary audiences.

Cinema emerged as the dominant communication medium by the late 1910s, with Hollywood leading standardization in global film practices.