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3rd OUTLINE: NATIONAL CINEMA, HOLLYWOOD CLASSICISM, AND WORLD WAR I, 1905-1919 ● WW1 brought: distinctive national cinemas and also the dominance of American cinema THE AMERICAN TAKEOVER OF WORLD MARKETS ● Before WW1 America only dominated UK market ● The war decimated France’s filmmaking capabilities. The Italian entry into the war did the same to it’s industry. America filled the new void and new let go ● By 1916 USA exports were rising fast everywhere. South America, Oceania, Europe ● By 1916, USA films dominated Australia, NZ, and Argentina ● Because the USA was untouched by the war, they could count on the domestic market to make up film costs and then flood market with their films cheaply ● After gaining a foothold, films in America were given GLOBAL budgets ● The high production costs and values are what keep American Films dominant even today THE RISE OF NATIONAL CINEMAS ● France, Denmark, Italy were all hurt by the war and therefore film production went down ● Germany, Sweden, Russia thrived because the war cut off imports which created a demand for domestic film production GERMANY ● In Germany 1910s, film was thought of as lowbrow and immoral ● Germany theatre groups even boycotted cinema

● Eventually the boycott ended and the cinema gained respect ● Autorenfilm, a film written by a famous author or playwright became the German answer to the Film d’Art ● German autorenfilm fell out of favor quickly but there was rise of German film internationally. It was led by two international female stars: Danish transplant Asta Neilsen and Henny Porten ● 1916 the Germans banned film import as they felt that anti-German sentiments in international films (namely Denmark) were hurting the war effort. This created a German film boom ITALY ● Historical epics helped Italy flourish abroad ● “Cabiria movement” of tracking shots toward or away from static action was birthed in Italy ● Frock-coat films, starring “Divas” became hugely popular. They were set in luxurious settings and were often overdramatic ● Strongman was the male “diva” equivalent ● Italy couldn’t retake a place of dominance internationally after the war RUSSIA ● Developed distinct style because of WW1 isolation ● At first, biggest film producers in Russia were Gaumont and Pathe, French companies ● Khanzhonkov and Drankov’s firms opened in 1908 and 1907 respectively

● In 1912 films started to become respectable. In Russia, this was helped by the fact that the Tsar and his family were big film fans ● From of the onset of WW1, the Russian film production grew rapidly, in response to border closures and closures of foreign films ● Russian films were melancholic and ended sad. This was apparently the Russian taste. They also had a slow pace and mirrored Italian films in their focus on virtuoso acting ● 1917 Bolshevik Revolution put a halt on Russian filmmaking THE CLASSICAL HOLLYWOOD CINEMA ● In 1912 the MPPC lost its power when their patent of the Latham loop was declared null ● The independents that beat MPPC in that legal battle grouped together to build a studio system that became “Hollywood” ● Producing became centrally important and the star system became powerful ● Stars began to garner higher pay and even their own production autonomy MAJOR STUDIOS BEGIN TO FORM ● Studio formation came about from combining two or more production/distribution companies ● Carl Laemmle founded the Universal Film Manufacturing Company to distribute his and other independent films, as well as international ones ● W. W. Hodkinson merged 11 distributors in Paramount ● Adolph Zukor founded Famous Players in Famous Plays, soon to become part of a Hollywood system

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● Zukor started distributing his films through Hodkinson’s Paramount ● Jesse L. Lasky Feature Play Company also distributed through Paramount ● Zukor took over Paramount and merged his company with Lasky’s. He then made Paramount the subsidiary of Famous Players-Lasky ● William Fox merged his three companies responsible for exhibition, distribution and production into one: Fox Film Corp. ● The three firms, Metro, Goldwyn, and Mayer merged in 1924 ● Zukor would only sell you films if you should all of his films, so exhibitors fought back by financing and distributing their own independents. Zukor fought back by buying theaters for Paramount. This completed vertical integration and made Paramount a major international player, as many other firms around the globe were not as vertically integrated CONTROLLING FILMMAKING ● Hollywood “factory” stereotype not entirely true. But it was a business… and accordingly shot for efficiency ● The Hollywood method involved separation of production in order to maximize efficiency. Specialization increased ● Continuity script came out of this specialization. It allowed for large teams to work together without communicating ● Backlots were purchased for building large reusable sets and large indoor studios were built for lighting control FILMMAKING IN HOLLYWOOD DURING THE 1910’S

● Hollywood worked hard on perfecting filmmaking technique with the end goal of improving storytelling. Careful editing with visual continuity, effects lighting, star acting, and different types of shots were just some of the techniques used ● Hollywood guidelines are: clear cause and effect, emphasis on character psychology, goal-oriented protagonist, conflict with other characters over said goals, and subplots (usually romantic) FILMS AND FILMMAKERS ● Many stars made a lot of money ● Studios bought the rights to use many classic stories ● Thomas H. Ince and D. W. Griffith were two influential directors ● Slapsticks and Westerners became incredibly popular ● William S. Hart was a very famous Western star TRENDS IN SMALLER PRODUCING COUNTRIES ● Films in countries with smaller industries largely disappeared to time ● There have been efforts to preserve them though and from those preserved there are generalizations to observe ○ Two main characteristics ■ Shot on location. There was not enough money for large sets ■ They had to do with national tradition or literature. These appeals to local taste helped them compete with films with higher production value