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| practice of promoting a more powerful culture over a least known or desirable culture |
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| Webb-Pomerene Act gave immunity to antitrust laws for companies that combined to operate the export trade that was essential to the war effort. The act was important because it granted exemptions from the Clayton Anti-Trust Act of 1914. Many large conglomerates that had previously been subject to Federal anti-trust investigations were now free to continue "business as usual" because they "aided" the war effort. Webb-Pomerene exemptions lasted well into the 1920s as the Federal Trade Commission granted stays of investigation for those companies that initially qualified for exemption under the 1918 act. |
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| he namesake of the Hays Code for censorship of American films, chairman of the Republican National Committee (1918–1921) and U.S. Postmaster General from 1921 to 1922. |
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| founded in 1922 and is designed to advance the business interests of its members. They only serve as a consumer suggestion by a group of corporate analysts. After screening films, their personal opinions are used to arrive at one of five ratings. Theater owners agree to enforce corporate film ratings as determined by the MPAA, which in turn facilitates their access to new film releases. |
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| National Board of Censorship/Review |
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| Its stated purpose was to endorse films of merit and champion the new "art of the people", which was transforming America's cultural life. In an effort to avoid government censorship of films, the National Board became the unofficial clearinghouse for new movies. |
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| was an independent agency of the government of the United States created to influence U.S. public opinion regarding American participation in World War I. Over just 28 months, from April 13, 1917, to August 21, 1919, it used every medium available to create enthusiasm for the war effort and enlist public support against foreign attempts to undercut America's war aims. |
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United States federal law passed on June 15, 1917, shortly after the U.S. entry into World War I.
It prohibited any attempt to interfere with military operations, to support America's enemies during wartime, to promote insubordination in the military, or to interfere with military recruitment. In 1919, the U.S. Supreme Court unanimously ruled in Schenck v. United States that the act did not violate the freedom of speech of those convicted under its provisions. |
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| Trading with the Enemy Act |
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| enacted in 1917 to restrict trade with countries hostile to the United States. The law gives the President the power to oversee or restrict any and all trade between the U.S. and her enemies in times of war |
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| t forbade the use of "disloyal, profane, scurrilous, or abusive language" about the United States government, its flag, or its armed forces or that caused others to view the American government or its institutions with contempt. The act also allowed the Postmaster General to refuse to deliver mail that met those same standards for punishable speech or opinion. It applied only to times "when the United States is in war."[2] It was repealed on December 13, 1920. |
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| Mary Pickford was a Canadian actress who was an international fame sensation. |
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| n American illustrated song slide "model," silent film actor, comedian, director, and screenwriter. Starting at the Selig Polyscope Company he eventually moved to Keystone Studios where he worked with Mabel Normand and Harold Lloyd. He mentored Charlie Chaplin and discovered Buster Keaton and Bob Hope. He was one of the most popular silent stars of the 1910s, and soon became one of the highest paid actors in Hollywood, signing a contract to make $1 million a year in 1918 |
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| actor in silent film referred to as "the screen's most perfect lover" |
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| series of studies of the effect of movies on children's behavior. They were paid for by The Payne Fund, a private foundation. They have been criticized as lacking scientific rigor but were the first attempt to rigorously study the media. They were politically significant and were instrumental in the enforcement of the Hays Code. They helped put an end to the Pre-Code era of Hollywood. |
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| The Payne Fund, an organization “interested in the radio, motion pictures and reading in relation to children and youth” (Forman), supported these independent studies. Our Movie Made Children, aimed at middle class mothers and religious groups, echoed the pro-censorship attitude behind the Payne Fund, and dramatized the threats movies posted to children. |
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| "Hollywood's first self-regulated code" (1927), Will Hays and other film executives collaborated to make a production code based on topics challenged by censor boards--it included 11 topics to avoid, and 26 topics to be cautious of. |
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| Studio Relations Committee |
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| The Motion Picture Production Code was the set of industry censorship guidelines that governed the production of the vast majority of United States motion pictures released by major studios from 1930 to 1968. It is also popularly known as the Hays Code, after Hollywood's chief censor of the time, Will H. Hays. |
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| refers to the era in the American film industry between the introduction of sound in the late 1920s[1] and the enforcement of the Motion Picture Production Code (Hays Code) censorship guidelines. As a result, films in the late 1920s and early 1930s included sexual innuendos, references to homosexuality, miscegenation, illegal drug use, infidelity, abortion, and profane language, as well as women in their undergarments. Strong women dominated the screen in films such as Baby Face, and Red-Headed Woman. Gangsters in films like The Public Enemy, Little Caesar, and Scarface were more heroic than evil. In addition to stronger female characters, films examined female subject matters that were not revisited until much later in Hollywood history. |
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| American comedy crime film |
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| 1931 Warner Bros. Pre-Code crime film. It tells the story of a young man who ascends the ranks of organized crime until he reaches its upper echelons. Directed by Mervyn LeRoy, the film stars Edward G. Robinson, Douglas Fairbanks, Jr. and Glenda Farrell. The story was adapted by Francis Edward Faragoh, Robert N. Lee, Robert Lord and Darryl F. Zanuck (uncredited) from the novel by William R. Burnett. Little Caesar was Robinson's breakout movie; it catapulted him to stardom. |
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American actress, playwright, screenwriter and sex symbol.
Known for her bawdy double entendres, West made a name for herself in Vaudeville and on the stage in New York before moving to Hollywood to become a comedienne, actress and writer in the motion picture industry. One of the more controversial movie stars of her day, West encountered many problems including censorship. |
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| Catholic Legion of Decency |
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| organization dedicated to identifying and combating objectionable content, from the point of view of the Roman Catholic Church in the United States, in motion pictures. For the first quarter-century or so of its existence, the legion wielded great power in the American motion picture industry. |
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| Production Code Administration |
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| established by the Motion Picture Association of America (MPAA) in 1934. The PCA required all filmmakers to submit their films for approval before release. |
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| American film censor. He worked for more than two decades with the Motion Picture Producers and Distributors of America to enforce the so-called Hays Code in film production. |
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| screwball comedy 1938; cary grant and katherine hepburn; directed by howard hawks; |
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| 943 American western film, directed by Howard Hughes and starring Jane Russell. The supporting cast includes Jack Buetel, Thomas Mitchell, and Walter Huston. Hughes also produced the film, while Howard Hawks served as an uncredited co-director. The film is notable as Russell's breakthrough role, largely thanks to the costuming, turning the young actress into a sex symbol and a Hollywood icon. |
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| live narrator - spoke the film dialogue or narrated the story; influenced film making led to longer take, sparse inter-titles, more abstract props (benchi would fill in details); became stars themselves. |
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| highly stylized classical Japanese dance-drama. Kabuki theatre is known for the stylization of its drama and for the elaborate make-up worn by some of its performers. |
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| japanese director; pioneer of japanese film, builds the old school genre: discovered actor Onoe; |
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| japanese silent film actor; started in kabuki; discovered by Shozo Makino; first japanese film star: mostly short films |
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a japanese version of the "edison trust", conglomeration of japanese companies,
started 1912 |
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| film mixed w other art forms, mix of live actors and film (film—actors coming up on stage reading lines—film again), |
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| men playing women's roles, used in new school and old school |
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| Japanese genre; contemporary subjects, settings; melodramas; (still) used oyama; often about sacrifice of women for the sake of the family |
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| Japanese genre; historical, adaptation of kabuki plays, films about samurais, more rigid star system than new school; chain dramas; |
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| 1923, destroyed most of tokyo, over 140k ppl dead, tokyo was one of the main centers for film production so had major effect on the industry, (after 1923 autotor system "guild system" director & apprentice) |
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| 1 of the great directors 1920s; primarily made middle class dramas; made avant gardes as well most famously "Page of Madness"; associated w/ the shinkankaku group; |
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| japanese director, one of most popular new school directors but made old school too; influenced by european/american style; turned to new realism; huge body of work (at first 1 film per week); socialist tendencies but had to make propaganda films in 30s (made historic films); |
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| 1 of great japanese directors, made over 50 films, started 1927 (end of silent) era but worked for 10 yrs w silent film; started w comedies, turned to dramatic films 1930s; 40s: "Late spring," "Tokyo Story," "Flavor of green tea over rice"; perfectionist - every detail important "film made for academics"; shoot w very low camera angle; often breaks 180-degree rule; |
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| Kinugasa, avant-garde, not typical of japanese cinema, no original score (many have tried to create one for it); Kawabata (noble prize laureate) wrote the script; a lot of european influences expressionism and french impressionism, influenced in particular by Caligari; |
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| japanese avant-garde literary movement, experimented w futurism, constructivism, realism; Kinugasa member of group |
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| Japanese film by Ozu; from his transition period between comedy and drama; a comedy-drama; about a fam that moves to tokyo for fathers job |
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| a continuity editing rule; states that two elements in the same scene always have the same left/right relationship to ea other; |
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| Teddy Roosevelt in Africa (1909) |
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| actor portraying president, scenes at zoo, important b/c of the idea that film can be used to recreate reality, see history through film instead of reading about it in books, special effects were used (diff belief about what had a place in documentaries pre/post 1960s) |
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| pioneer of documentary film making; studied the methods of a lot ethnographers (esp. Franz Boas), ; "Nanook of the North" (1922) trying to preserve the inuit culture; |
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| german born american ethnographer; |
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| ways of recapturing cultural activities/ways of life that were dying; recording nature cultures, |
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| Nanook of the North (1922) |
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| directed by Flaherty; about inuits in Alaska; Salvage ethnography mixed w participant ethnography (Flaherty taught inuits to help w film); parts were staged, (tried to show family life according to western view instead of the way it was,monogamy vs polygamy); |
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| american film maker, mad film about native americans in north west, "In the land of the Head Hunters" (1914); tried out a lot of ethnographic methodologies, salvage etc. |
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| In the Land of the Head Hunters (1914) |
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| Salvage ethnographic footage mixed with other types (?); directed by Edward S. Curtis; |
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| directed "King Kong" & "Grass" together w Cooper; |
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| directed "King Kong" & "Grass" together w Schoedsack; |
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| Scottish documentary maker; films about industrial side/backside british culture, like "Drifters" (1929)— about herring fishermen; worked for empire marketing board; |
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| propaganda agency in the UK in the 20s early 30s; |
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| directed by Grierson; about herring fishermen; |
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| produced by Grierson; directed by Basil Wright; about the night train from London to Glasgow delivering the mail; a GPO film; |
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| GPO = General Post Office; Grierson worked there in the 30s; made (propaganda) films demonstrating how GPO facilitated modern communication; |
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| directed "Night Mail"; worked at GPO; |
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| made by Louis Buñel (1933); not real documentary, parody of documentary (driest parody ever made); shows that it's the conventions of the time that make ppl believe it's true; |
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| the state sanctioned art form in the Soviet Union; |
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| propaganda minister nazi germany; 1933-45 control the german film industry; hated the art for art sake movement, banned several weimar films; commissioned "Jew Suss"; influenced by and inspired whay |
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| oversaw the german film industry, got rid of the jewish film workers, |
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| the jewish film makers/actors that fled germany, also other film makers/actors that left b/c didn't like the direction country had taken; a lot of hollywood's key actors/directors were émigres: Fritz Lang, Peter Lorre; |
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| law passed by Goebbles; all aspects of german film making had to go through Goebbles' office; not much different from the production code administration; |
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| german anti-semitic film from 1940, adapted from a novel, goebbels saw the anti-semitic potential, about a jewish banker; distinctive as one of the more direct anti-semitic films (usually more subtle anti-semitism); |
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| german director; mountain films; his big star Riefenstahl; |
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| german film genre; equivalent of american western; about the frontier, conquering nature; "Triumph of the Will"; Arnold Frank & Riefenstahl strongly linked to genre; |
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| german actress/director nazi era; star of many mountain films; "Blue Light" & "Triumph of the Will"; |
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| Triumph of the Will (1935) |
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| german propaganda film; Riefenstahl directed, music by Herbert Windt; (Nazi Party congress); used as documentary footage in other films (Capra's "Why We Fight" films); |
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| german composer, composed score for "Triumph of the Will", |
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| french director; together w Carne, and Prevert considered starting popular front movement french cinema; |
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| french film maker; Jaques Feyder's assistant; w Feyder and Prevert considered starting popular front movement french cinema; |
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| Carnival in Flanders (1935) |
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| directed by Carne; popular front movie; banned by Goebbles; |
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| son of Renoir; french film maker, made silent and sound film; part of popular front movement; |
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| The Crime of Monsieur Lange (1935) |
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| by Renoir; popular front movie (shot during popular front's election victory; written by Prevert; about publishing house where works take over running the company as a collective; |
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| french movie starring von Stronheim and Gabin; late popular front master piece; banned in Germany and Italy for pacifist statements; realism-very long takes, deep focus, very symbolic; about a group of soldiers WWI; |
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| austrian film maker and actor; "Grand Illusion"; |
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| french actor; "Grand Illusion"; |
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| The Plow that Broke the Plains (Pare Lorentz, 1936) |
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| american short documentary; sponsored by government; raise awareness of New Deal; (about unsustainable farming); |
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| head of WB; conservative, but strong supporter of FDR; short films suggesting/promoting idea US joining European war; |
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| series of instructional cartoons, Warner Bros; character created by Frank Capra; made for War dept; intended audience: soldiers; |
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| Confessions of a Nazi Spy |
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| american anti Nazi film 1939; producer Jack Warner, Warner Bros; music Max Steiner; |
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| american pro Soviet/Russian film; Warner Bros (Jack Warner); lead to communist investigation of Hollywood; |
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| directly pro-American musical film; about George M. Cohan; Designed to stir up pro-American sentiments, to emotionally involve people in the war; Warner Bros; |
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| studios sharing equally, not competing for contracts; Dedicated to the advancement of the arts and sciences of motion pictures |
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| The Battle of Bataan is famous in history as one of the last stands of American and Filipino soldiers before they were overwhelmed by the Japanese forces in World War II. |
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| Frank Capra, Why We Fight series |
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| films designed as part of the war effort; explain different theaters of war; funded by government; |
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| John Ford, Battle of Midway (w/ Greg Toland, 1943) |
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| Academy Award winning film, |
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| made two films about different battles in Italy, not released b/c ambiguous if pro-US or not; |
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| made sure films portryated military in the right light; |
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| Office of War Information |
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| agency created during World War II to consolidate government information services; active role in creating content for films; not direct government intervention, done by choice; director Elmer Davis; |
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| director of OWI; Oversaw national and foreign film distribution, more than just Hollywood; Journalist, didn’t know much about film; thought OWI’s job was to get the truth out about the war; pressured to manipulate info; |
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| OWI Bureau of Motion Pictures |
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| Overseen by Lowell Mellett; Released weekly short subjects to schools; also oversaw motion films; Oversaw the whole world except Latin America; |
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| journalist; director, OWI Bureau of Motion Pictures; didn’t know much about cinema; all racism is inherently fascist and should be left out |
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| American screenwriter and playwright, best known for his collaborations with director-producer Frank Capra. |
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| “Manual for the Motion Picture Industry” (1942) |
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| written by OWI Bureua of Motion Pictures; war film equivalent to Production Code; |
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| Mission to Moscow (Warners 1943) |
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book by the former U.S. Ambassador to the Soviet Union Joseph E. Davies published by Simon and Schuster in 1941. It was adapted into a film directed by Michael Curtiz in 1943.
The movie, starring Walter Huston, was made in response to a request by Franklin D. Roosevelt, and was one of the movies famously targeted by the House Committee on Un-American Activities. It chronicles the experiences of the second American ambassador to the Soviet Union, Joseph E. Davies. |
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| Office of the Coordinator of Inter-American Affairs (CIAA) |
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| counter act fascist propaganda in Latin America through documentaries and newsreels; Lot of important Hollywood ppl worked for CIAA: e.g. Walt Disney, Orson Welles; Tried to abolish Latin American stereotypes; |
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| worked for the CIAA, in charge of Latin America, |
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| American filmmaker, actor, theatre director, screenwriter, and producer, who worked extensively in film, theatre, television and radio. Noted for his innovative dramatic productions as well as his distinctive voice and personality, Welles is widely acknowledged as one of the most accomplished dramatic artists of the twentieth century, especially for his significant and influential early work—despite his notoriously contentious relationship with Hollywood. His distinctive directorial style featured layered, nonlinear narrative forms, innovative uses of lighting such as chiaroscuro, unique camera angles, sound techniques borrowed from radio, deep focus shots, and long takes. Welles's long career in film is noted for his struggle for artistic control in the face of pressure from studios |
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| went on a tour of Latin America funded by the CIAA; first real success was called Alice in Cartoonland; |
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| French caricaturist of the largely-forgotten Incoherent Movement, cartoonist, and animator, called "The Father of the Animated Cartoon" and "The Oldest Parisian". |
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| Russian filmmaker; worked in stop motion animation; scientist, made scientific films first; "Cameraman’s revenge" |
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| American cartoonist; lot of surrealist/dream like cartoon strips; "Gertie the Dinosaur" |
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| american animated short film; by McCay 1914; |
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| american cartoon; precursor to Tom & Jerry; often political; often ethnic humor, very racy; |
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| he oldest and historically the most popular form of animation. In a traditionally-animated cartoon, each frame is drawn by hand. The term "traditional animation" is often used in contrast with the now more commonly used computer animation. |
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| animation technique in which animators trace over live-action film movement, frame by frame, for use in animated films.[1] Originally, recorded live-action film images were projected onto a frosted glass panel and re-drawn by an animator. This projection equipment is called a rotoscope, although this device has been replaced by computers in recent years. In the visual effects industry, the term rotoscoping refers to the technique of manually creating a matte for an element on a live-action plate so it may be composited over another background.; invented by Dave Fleischer |
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| American comic strip created by the German immigrant Rudolph Dirks and drawn by Harold H. Knerr for 37 years (1912 to 194). he Katzenjammer Kids is still distributed by King Features, making it the oldest comic strip still in syndication and the longest-running ever |
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| first real success was called Alice in Cartoonland; went on a tour of Latin America funded by the CIAA; |
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| american cartoonist/animator; worked for Disney; created Mickey; worked on Alice in Cartoonland; |
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| Walt Disney's younger brother; co-founder Walt Disney company, CEO 1929-71; |
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| Walt Disney & Ub Iwerks; live action combined w animation (real girl who encounters different drawn characters); surrealist, new properties of animated films; |
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| created by Ub Iwerks & Walt Disney; Universal Studios; disney lose control late 20s => Mickey (an altered Oswald); |
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| American animator film director and film producer, best known as a co-owner of Fleischer Studios with his older brother Max Fleischer (the father of director Richard Fleischer). Inspiration for his brother Max's Koko the Clown; invented the rotoscope; |
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| animated character created by animation pioneer Max Fleischer. The character originated when Max Fleischer invented the rotoscope, a device that allowed for animation to be more lifelike by tracing motion picture footage of human movement. To test out his new invention Fleischer photographed his brother Dave in a clown costume. |
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| is a fictional hero notable for appearing in comic strips and animated films as well as numerous television shows. He was created by Elzie Crisler Segar,[1] and first appeared in the daily King Features comic strip Thimble Theatre on January 17, 1929. Popeye has now become the strip's title as well; Fleischer Studios brought him to the screen |
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| animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop series of films which were produced by Fleischer Studios and released by Paramount Pictures. She has also been featured in comic strips and mass merchandising. With her overt sexual appeal, Betty was a hit with film-goers, and despite having been toned down in the mid-1930s to appear more demure, she became one of best known cartoon characters in the world and remains popular today. |
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| created by Walt Disney & Ub Iwerks; lot of the humor is slapstick; music central; influences: black face minstrels, silent slap stick comedies—Chaplin; |
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| disney film; 1st cartoon w synchronized sound; mickey mouse; |
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| Disney cartoon, similar to Fantasia, about interracial marriage, |
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| American composer and arranger for music in animated films. He is most closely associated with the Looney Tunes and Merrie Melodies shorts produced by Warner Bros., where he averaged one complete score each week, for 22 years. |
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| 1935 Disney short animated clip involving two torn musical instrument lovers. Music is the only sound throughout the whole film. |
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| Disney, Eastern European style of animation, first animated feature film produced in America |
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| Prince Achmed (Lotte Reineger) |
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| 1926 feature-length stop-motion film by the German animator Lotte Reiniger. It is the oldest surviving animated feature film (two earlier ones were made in Argentina by Quirino Cristiani, but they are considered lost[1]), and it featured a silhouette animation technique Reiniger had invented which involved manipulated cutouts made from cardboard and thin sheets of lead under a camera. Plot based on 1001 Nights. |
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| designed to make cartoons more realistic; disney's response to Fleischer's rotoscope; |
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| a form usually generated by the stage manager or design department head that indicates information about the cue including execution, timing, sequence, intensity (for lights), and volume (for sound) |
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| austrian composer; broadway & silent film; score "King Kong"; RKO—musicals; (help create new Hollywood sound) |
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| austrian composer; emigré; Warner Bros; (help create new Hollywood sound) |
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| Adolph Deutsch (Maltese Falcon, 1941) |
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| The music to The Maltese Falcon (1941 film) starring Humphrey Bogart was written by Adolph Deutsch who later went on the win an Academy Award for his incidental music for Oklahoma! in 1955. |
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| David Raskin (Laura, 1944) |
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Definition
| Composer for this American film noir |
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| Miklos Rozsa (Spellbound, 1945) |
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| Alfred Hitchcock psychological mystery, Rozsa did the musical score |
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| is a musical term (though occasionally used in theatre or literature), referring to a recurring theme, associated with a particular person, place, or idea |
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Definition
| pioneering spanish director; invented/worked w all types of special effects (trick photography, perfected the stop motion etc.);made over 500 films, most famous for "The Electric Hotel" |
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| The Electric Hotel/El hotel electrico (1905) |
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Definition
| Chomón's most famous film; one of the first examples of stop motion animation; about a hotel where everything is automatic (bags unpack themselves and shoes unbuckle themselves etc); |
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| officially sanctioned type of cinema in Franco's spain; propagandistic films attempting to instill the core values that spaniards should adhere to; famous examples "Raza," "The Siege of the Alcazar"; glorification of death important element; |
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| Raza (José Luis Sáenz de Heredia 1942) |
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Definition
| example of crusade cinema; based on a novel by Franco; |
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| The Siege of the Alcazar (Augusto Genina 1940) |
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Definition
| example of crusade cinema; italian war film; showing how nationalistic troops hold a fort besieged by republicans; |
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| mexican documentary film maker; started film company that documented both sides of the mexican revolution; |
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| ¡Qué viva Mexico! (c. 1930 not completed) |
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Definition
| made by Eisenstein; supposed to be a 6-episode feature film showing mexico; attempt to make cinema an extension of mexican muralism |
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| mexican film maker; together w Figueroa created the mexican style; active during the mexican golden age |
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| mexican film maker; (made over 200 films); together w Fernández created the mexican style; active during the mexican golden age |
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Term
| Mexican Golden Age Cinema |
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Definition
| prolific period in mexican film making; from 1930-60s; state sponsored film making; 2 famous film maker: Emilio Fernández & Gabriel Figueroa; |
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Definition
| mexican film genre, the brothel film, very provocative titles, |
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| Los olvidados /The Young and the Damned (Luis Buñuel 1950) |
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Definition
| 1950 Mexican film directed by Spanish-Mexican filmmaker Luis Buñuel. |
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Definition
| united leftist fight against fascism 30s & 40s; film makers: Fedeyer, Carne, Perver, ; movies: "Grand Illusion," |
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