He contributed extensively to the recent Encyclopedia of World Drama. This, the first systematic and unified history of the American movie industry, will be welcomed by students, scholars, and all with a lively interest in the film. Unlike all other American art forms, film has always had a great number of constraints influencing it. These influences, say Ballo, must be understood in order to gain a truer understanding and appreciation of the art of the medium, for no art exists in a vacuum — least of all, film.
In these pages, Balio guides the reader in an exploration of the effects of technological invention and development, financing, studio organization and procedures, distribution and exhibition trade practices, economic forces, and changing legal restraints. Each, as the reader will discover, left its indelible mark on the screen. Balio has written introductory historical surveys of each period, placing in helpful perspective the articles which follow. The articles themselves cover such subjects as the kinetoscope, the star system, the coming of sound, the structure of the industry and competition practices, censorship, foreign markets, the influence of television, s blacklisting, anti-trust actions, and recent trends.
Prepublished articles, selected for their liveliness as well as their accuracy, include those from Fortune , Sight and Sound , and other scholarly and industry journals and monographs. Editor Balio contributes an article on the founding of United Artists during the rise of the star system, which is based largely upon the unique United Artists collection now housed in the Wisconsin Center for Film and Theater Research, at Madison.
As a classroom text and as an interesting and useful volume for film buffs, The American Film Industry offers a highly readable and inclusive history of the industry available nowhere else. A hundred years ago, some saw film as an amusing toy with a doubtful future. But when technology was married to artistry, then film began its march through the century. On the th anniversary of film, we welcome an opportunity to look back at its origins.
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Of the 17, films scrupulously recorded in this catalog, film preservationists estimate that about ten percent are known to survive. Perhaps many hundreds remain to be found. From that moment in time, film developed rapidly and its classic genres were defined early: narratives such as The Adventures of Dollie ; adaptations such as Camille ; documentaries such as Carriers at Work, U. O and travel and nature films. The hand-cranked camera began its ubiquitous penetration of every aspect of public and private life. It created a record of the times and historical figures, from Admiral Dewey to the electrocution of a rogue elephant on Coney Island in The names of famous directors began to appear: D.
Griffith, and Edwin S. As the compilers of this pioneering catalog tell us, the early industry was not as primitive as was hitherto understood. The journey initiated by the American Film Institute in has been long. The chronicle of early films now takes its place beside those of the s, s, s and the s. We are proud to be a partner with the American Film Institute as it records in sophisticated and accessible form the history and documentation of the moving image in the United States.
These films are a series of windows through which we can catch a glimpse of yesterday, examine our history and see the face of the present reflected and illuminated in images of the past. Hardcover — 1. Readers familiar with indexes in other volumes of the AFI Catalog will notice some differences here. Previous AFI Catalog volumes have indexed film titles chronologically by year, then alphabetically within each year. Because of the importance of the evolution of the medium of motion pictures during the period covered by Film Beginnings, it was decided that for this volume films should be listed chronologically, according to the specific date, rather than year of release.
Thus, the reader will find that films released in , for example, can be traced from 5 January through 30 December. Films for which the year of release and the month are known, but with undetermined day of release are listed at the beginning of a specific month. Films for which neither the exact day, month or year of release have been determined, are listed at the end. In cases in which two or more films share the same release date, titles are arranged alphabetically. While each of the indexes adopts this same basic arrangement, please consult the brief Introduction to each index for specific information on that index.
Following the indexes, a Selected Bibliography of books mentioned within the entries is provided. As many of the books listed in the Selected Bibliography are cited by title within the Film Beginnings text volume, books are arranged alphabetically by title. But as the institute set about the task of organizing a national preservation effort, progress was hindered by the lack of a reliable, comprehensive source of information detailing the production of the American film industry.
This series will eventually provide complete cataloging on every feature, short, and newsreel produced by the American film industry since The first volume, listing American features from to , was published in In , a second volume covering appeared. The current volume has been in preparation since , and research is well along on volumes documenting and the pre-teen era.
To produce an AFI Catalog volume means years of arduous, painstaking work. Our staff of film scholars and historians examine and compare films, books, journals, and public, corporate and personal records to achieve the most accurate, comprehensive documentation possible.
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This commitment to quality in creating the national filmographic record would not be possible without equal commitment and generosity on the part of our benefactors. The National Endowment for the Humanities has played a leadership role in supporting the Catalog since its inception. The David and Lucile Packard Foundation and the National Endowment for the Arts also have provided support, encouragement, and understanding throughout the project that have allowed us to achieve our goals. And, over the years, the effort has been enormously rewarding.
As the institute enters its third decade, we are proud to present the third volume of the AFI Catalog, documenting American feature films produced between and In the years since the inception of the Catalog project, the field of film studies has made tremendous advances. The teens volume has benefited from this development and will unlock the period for film scholars. Although the teens was an enormously significant decade for film, it has been neglected because of the scarcity of accurate information and the inaccessibility of the films.
And while there is a tendency to view the teens as the infancy of the movies, we know today that cinema during the period was already a mature art and a highly developed industry. The teens saw the rise of feature-length film and the consequent development of a cinematic language and narrative forms.
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The star system came into being in the teens; D. Griffith, Thomas H. Ince, and Cecil B. The balance of film production shifted from the East Coast to a Southern California town whose name would soon become synonymous with American film: HoIlywood. And while this expanding industry was creating entertainment at a feverish pace, the movies did not turn away from the great social ferment of the era. Changes in American society involving morality and institutions, the Great War, and our national identity — changes that affected every facet of life — were captured by the cinema.
In the twenty years since our establishment, we have seen the field expand from a handful of archives to an ever-growing network of institutions concerned with the preservation, study and sharing of our motion picture heritage.
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In the AFI Catalog of Feature Films, , scholars, historians, and film lovers have a new tool for exploring our collective past. Unlike the previous two volumes of the Catalog, the teens volume separates personal name and corporate entries into two indexes. In addition, we have provided a complete chronological list of film titles, a Genre Index, and a Geographic Index which were not in previous Catalogs.
We have indexed all elements of the catalog following the same basic arrangement: alphabetical heading followed by a chronological, then an alphabetical, list of film titles. An asterisk following a film title indicates that the credit is mentioned in the note rather than in the main body of the entry for that film.
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A brief explanation is provided for the user at the beginning of each index. Following the Geographic Index we provide a bibliography of books for further research. Films whose release dates may have been in either of two years, for example or , are listed between the entries for the two years. Films whose release dates cannot be determined are listed at the end under 19—. In fact, in the early days, films grew so fast that there was little time for looking back.
Allan Dwan, a director of the 20s and 30s, wrote me recently saying that he never dreamed that another generation would have an interest in his work and consequently he kept no prints or scripts of his films. So records of this past have been sparse, and so too the surviving films. More than half of the pictures made in the United States had been lost or destroyed and two-thirds of the twentieth century had passed when the American Film Institute came into being in One task of the Institute is to recover the surviving films — nearly 4, are already in the AFI Collection at the Library of Congress — and another is to recover and organize the data which can document the history of an art.
The present volume is the centerpiece of a comprehensive reference work on American cinema. Though not the first in the order in which the complete set of volumes will stand on the shelf, it is nevertheless a fine choice to introduce the work. It describes films of a decade that witnessed the zenith of the silent film and the introduction of sound. The Credit Index chronicles the founding of thousands of careers in meticulous detail. Every credit of men and women like William A. Wellman, Mary Pickford, Frank Capra, and Harold Lloyd is listed whether the credit was as actor or writer, as director or assistant.
And every career is included whether the assistant remained an assistant or went on to greater things. This information has been compiled by a small staff that has been rigorous in its attention to accuracy and completeness of information; no credit is too small, no career too brief. The same is true of the corporate structures that came into being. This volume reflects a great era in human creativity. A decade of adventure for thousands of artists and craftsmen who invested their lives to creating moving pictures.
They did it well. It is to their memory that this volume is dedicated. Each unique name, whether personal or institutional, appears only once; and subordinated to it, as explained below in detail, the films credited to the name are listed. Literary and dramatic source credits are separately listed beginning on page In the interest of historical accuracy the compilers have endeavored, insofar as possible or feasible, to render the name credits exactly as expressed, contemporaneously, for the films concerned.
Allowing for misspellings or inconsistencies in the sources used — and these discrepancies the compilers have been at pains to reconcile — there still results in the production of an index of this proportion by computer methodology the separation of the data subjoined to each variation in the rendering of the same name.
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Nevertheless, especially for the benefit of the novice in film research, appropriate cross-references are provided from one variation to all others whenever there is no reasonable doubt about the same identity. Special pains have been taken to separate data relating to two or more persons known by exactly the same name, but here again film scholarship, it is to be hoped, will recognize the difficulty of making a determination of this kind without great risk of error.
In consequence, it remains for the researcher himself to establish, for whatever purpose, the extent to which any unique name in this Credit Index actually identifies two or more persons of that same name. In the alphabetization of personal names having capitalized prefixes such as De, Du, La, or Van , the prefix governs the arrangement; and it should be noted that in the descriptive entries themselves, and in consequence in this Credit Index, the compilers have consistently capitalized such prefixes and with the exception of Me, Mac, and Le in the context LeRoy spaced between the prefix and the surname.
This procedure may offend the purist, but in no other way could a single identity — rendered, say, variously as DeMille, De Mille, deMille, and de Mille — be retrieved under one heading. Production and distributing companies are, insofar as possible, given the names they employed at the time of film release, and no attempt has been made to cross-reference these names to reflect their corporate histories. For corporate or firm names the name-reversal technique is not employed — Norma Talmadge Productions, for instance, is entered under N — but each such name is cross-referenced, as necessary, from the appropriate surname.
The films credited to each unique name are listed chronologically by year of release or, if release date has not been determined, the year of production or of copyright , then alphabetically by film title.
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Though no page references are given, the descriptive entries may be readily found in the alphabetically arranged Catalog or, perhaps more conveniently, by means of the entry number following each title. This reference work presents the record of the film industry during the s, an era many of us associate with the Depression, but a period that was marked by extraordinary creativity in filmmaking. There were excellent productions of well-loved classics, such as Pride and Prejudice and David Copperfield, and the period produced classics of its own, such as Mr.
This is the time when Hollywood began producing hit musicals like Top Hat, which brought song and dance and a new group of talented stars to enthusiastic audiences. The world of s filmmaking is still very accessible. Several generations have had the opportunity to view the standard repertory of film history via television or videocassette, and to become acquainted with screenplays, actors, actresses, and directors. Many thirties film plots have been revived and refilmed for later audiences, but the originals are still viewed over and over again.
We can safely assume that even though fashions in dress and automobiles will continue to change, the appeal of these works will endure. As a reference source, the thirties Catalog is invaluable. The staff members who produced it are veterans of many hours of research in film libraries and archives nationwide, and they have adhered to exacting standards of description and verification.