In the early 1920s, Rex Ingram stood out in critical and commercial publicity, not simply as a visual stylist but as a sculptor working in the medium of film. This reputation can be traced from his arts education at Yale, through his early acting jobs, to his career as a director. The discussion and promotion of Ingram’s early films at Metro, particularly Scaramouche (1923), reveal how his public relationships with the visual arts and visual artists helped to create a special status for his stylized films among critics, educators, and institutions that sought to define a type of art cinema. As an addendum, this essay also reprints and examines a page from a student’s notes taken during an early Vachel Lindsay lecture at the New York School of Art.


Additional Information

Print ISSN
pp. 112-145
Launched on MUSE
Open Access
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.