Epics, Spectacles, and Blockbusters: A Hollywood History

Notes

265 Notes The following abbreviations for periodical titles have been used in the notes: FD Film Daily HR The Hollywood Reporter KW Kinematograph (Kine.) Weekly MP Motion Picture Herald MPW The Moving Picture World NYDM New York Daily Mirror NYT The New York Times Notes to Introduction 1. King, Spectacular Narratives; Wood, “Timespaces in Spectacular Cinema,” 370–86. 2. Sobchack, “Surge and Splendor,” 24–29. 3. Higgins, “Suspenseful Situations”; Neale, Genre and Hollywood, 196–202; Brewster and Jacobs, Theatre to Cinema, 19–29. 4. Brewster and Jacobs, Theatre to Cinema, 8. 5. Hovet, Realism and Spectacle in Ben-Hur, passim. Notes to Chapter 1 1. There is a huge amount of writing on early film in the United States and elsewhere. The most detailed account of early films and early film production, distribution, and exhibition in the United States is Musser, The Emergence of Cinema. The best summary accounts are in Abel, Encyclopedia of Early Cinema. 2. Singer and Keil, “USA: Production,” in Abel, Encyclopedia of Early Cinema, 656. 3. Hendricks, “The History of the Kinetoscope,” in Balio, The American Film Industry, 48. 4. Quinn, “USA: Distribution,” in Abel, Encyclopedia of Early Cinema, 659; Balio, “Part 1: A Novelty Spawns Small Businesses, 1894–1908,” in Balio, The American Film Industry (1985), 16. 5. Allen, “Vitascope/Cinématographe,” in Fell, Film before Griffith, 146–47. 6. Quinn, “USA: Distribution,” in Abel, Encyclopedia of Early Cinema, 659. 7. Ibid., 660. 8. Fuller, At the Picture Show, 5–27; Hollyman, “The First Picture Shows in Austin, Texas,” 266 N O T E S T O C H A P T E R 1 9–22; Lowry, “Edwin J. Hadley: Traveling Film Exhibitor,” in Fell, Film before Griffith, 131–43; Musser, with Nelson, High-Class Moving Pictures; Pryluck, “The Itinerant Movie Show and the Development of the Film Industry,” 11–22; Thomas, “From Page to Screen in Smalltown America,” 3–14. 9. Musser “Itinerant Exhibitors,” in Abel, Encyclopedia of Early Cinema, 141. 10. Pryluck, “Industrialization of Entertainment in the United States,” in Austin, Current Research in Film, 117–35. 11. Gomery, Shared Pleasures, 12–13; Musser, “Itinerant Exhibitors,” in Abel, Encyclopedia of Early Cinema, 342; Swartz, “Motion Pictures on the Move,” 1–7; Stones, America Goes to the Movies, 11–13; Waller, “Robert Southard and the History of Traveling Film Exhibition,” 2–14. 12. Gunning, “The Cinema of Attractions,” in Elsaesser, Early Cinema, 56–62. 13. Streible, “Boxing Films,” in Abel, Encyclopedia of Early Cinema, 80. 14. Musser, The Emergence of Cinema, 198. 15. Ibid., 199. 16. Niver, Klaw and Erlanger Present Famous Plays in Pictures, 5. 17. Musser, The Emergence of Cinema, 210. 18. Niver, Klaw and Erlanger Present Famous Plays in Pictures, 1–2. 19. Musser, The Emergence of Cinema, 213, 218. 20. Ibid., 297. 21. Singer and Keil, “USA: Production,” in Abel, Encyclopedia of Early Cinema, 656–57. 22. Abel, The Red Rooster Scare, 1, 3–6. 23. Abel, “Look There! It’s an American Subject!” in Quaresima, Raengo, and Vichi, La nascita dei generi cinematografici, 381. 24. Ibid. 25. Musser, The Emergence of Cinema, 366. 26. Alvarez, “The Origins of the Film Exchange,” 431–35. 27. Musser, The Emergence of Cinema, 367. 28. Quinn, “USA: Distribution,” in Abel, Encyclopedia of Early Cinema, 660. 29. Musser, The Emergence of Cinema, 371–413; Abel, The Red Rooster Scare, 42–46. 30. Musser, The Emergence of Cinema, 299. 31. Abel, “Nickelodeons,” in Abel, Encyclopedia of Early Cinema, 478–79. 32. Ibid., 479. 33. Gomery, Shared Pleasures, 19. Elements of Gomery’s description are more likely to have applied to big cities than to small towns. He discusses both later on in his book. 34. Musser, The Emergence of Cinema, 428–29. 35. Abel, “Nickelodeons,” in Abel, Encyclopedia of Early Cinema, 479. 36. Musser, The Emergence of Cinema, 430. 37. Ibid., 433. 38. Abel, The Red Rooster Scare, 52. 39. Ibid., 64, 65. 40. Ibid., 59. 41. Ibid., 61. 42. Ibid. 43. Some give the date of the formation of the MPPC as 1909. The MPPC was incorporated in law on September 9, 1908. It was activated as a corporation on December 18, 1908. Its rules took effect from January 1, 1909, the date on which it signed its agreement with Eastman Kodak. 44. Abel, The Red Rooster Scare, 87–140. 45. Irwin, The House That Shadows Built, 128. 46. Anderson, The Motion Picture Patents Company, 213. 267 N...