“Greatest Combination in Motion Pictures”: Film History and the Division of Labor in the New York Motion Picture Company

Film History ◽  
2009 ◽  
Vol 21 (3) ◽  
pp. 189-207 ◽  
Author(s):  
Simon Joyce ◽  
Jennifer Putzi
1930 ◽  
Vol 4 (5) ◽  
pp. 1-4

The early business career of motion pictures lies entangled in the correspondence and documents of the firm of Raff & Gammon which have been presented to our organization through the kindness of Terry Ramsaye, Editor-in-Chief of Pathé Exchange, Inc., New York. Lost in the volumes of vituperative letters from impatient dealers and the business negotiations of Raff & Gammon for the sale of monopoly rights for whole states, the business history of the industry awaits a thorough ransacking of the available documents. What is most apparent immediately is the excitement of the public in the new invention and the rush of the more adroit to seize the profits from its immediate exploitation.


1960 ◽  
Vol 54 (2) ◽  
pp. 474-493
Author(s):  
David Fellman

Censorship of Motion Pictures. A recent amendment to the New York statute dealing with the licensing of motion pictures defines as “immoral” a picture “the dominant purpose or effect of which is erotic or pornographic; or which portrays acts of sexual immorality, perversity, or lewdness, or which expressly or impliedly presents such acts as desirable, acceptable or proper patterns of behavior.” The Education Department denied a license to the distributor of “Lady Chatterley's Lover” on the finding that three scenes were “immoral.” On appeal, the Regents of the University of New York upheld the denial of the license on the broader ground that “the whole theme of this motion picture is immoral under said law, for that theme is the presentation of adultery as a desirable, acceptable and proper pattern of behavior.” In affirming the denial, the Court of Appeals unanimously and explicitly rejected any notion that the film was obscene, but found rather that the picture as a whole “alluringly portrays adultery as proper behavior,” and that the only part of the statute applicable here was that which bars films which portray “acts of sexual immorality … as desirable.” Though there was no agreement on a single opinion, the Justices were unanimous in reversing the Court of Appeals. In behalf of a bare majority, Justice Stewart argued that since the state construction took the case outside the scope of such concepts as “obscenity” or “pornography,” and did not even suggest that the film would incite to illegal action, the state has in effect prohibited the exhibition of a motion picture because it advocates an idea, that under certain circumstances adultery may be proper behavior. This runs contrary to the basic guarantee of the First Amendment, which is the “freedom to advocate ideas,” and thus the state has quite simply “struck at the very heart of constitutionally protected liberty.” For the state misconceives what the Constitution protects. “Its guarantee,” wrote Justice Stewart, “is not confined to the expression of ideas that are conventional or shared by a majority. It protects advocacy of the opinion that adultery may sometimes be proper, no less than advocacy of socialism or the single tax. And in the realm of ideas it protects expression which is eloquent no less than that which is unconvincing.” Free speech, he went on to argue, cannot be denied where advocacy falls short of incitement, and where there is nothing to indicate that the advocacy will be acted on immediately.


1938 ◽  
Vol 2 (2) ◽  
pp. 312
Author(s):  
Nigel Dennis
Keyword(s):  
New York ◽  

1968 ◽  
Vol 25 (2) ◽  
pp. 393-407 ◽  
Author(s):  
John R. Hunter

Schools of six jack mackerel each were photographed with infrared film at eight levels of luminance and also in darkness. Three indices were used to measure the behavior of the school from motion pictures. Two of the indices, mean distance to nearest neighbor and mean separation distance, were measures of the distances between individuals in a school; the other, mean angular deviation, was a measure of differences in orientation between individuals. A value for each index was calculated for each motion picture frame.From 12.1 to 6 × 10−6 ft-L no differences existed in the angular deviation of the school or in the distances between fish. At 6 × 10−7 ft-L the intervals between fish were much larger than at higher levels of brightness and groups showed little uniformity in their orientation. Below 6 × 10−7 ft-L (darkness) schools were dispersed and the distributions of values of angular deviation were random.The ability of jack mackerel to feed on live adult Artemia was also tested at eight levels of luminance and in darkness. The number of Artemia eaten at 6 × 10−5 ft-L was about half of that eaten at the normal daytime level of 12.1 ft-L. Few Artemia were eaten at 6 × 10−7 ft-L and none in darkness.Comparison of these data with measurements of light in the sea indicated that jack mackerel probably would be able to maintain schools near the surface on a moonless starlit night and that they probably could feed effectively near the surface on a full moonlight night.


Author(s):  
Sangjoon Lee

This book explores the ways in which postwar Asian cinema was shaped by transnational collaborations and competitions between newly independent and colonial states at the height of Cold War politics. The book adopts a simultaneously global and regional approach when analyzing the region's film cultures and industries. New economic conditions in the Asian region and shared postwar experiences among the early cinema entrepreneurs were influenced by Cold War politics, US cultural diplomacy, and intensified cultural flows during the 1950s and 1960s. The book reconstructs Asian film history in light of the international relationships forged, broken, and re-established as the influence of the non-aligned movement grew across the Cold War. The book elucidates how motion picture executives, creative personnel, policy makers, and intellectuals in East and Southeast Asia aspired to industrialize their Hollywood-inspired system in order to expand the market and raise the competitiveness of their cultural products. They did this by forming the Federation of Motion Picture Producers in Asia, co-hosting the Asian Film Festival, and co-producing films. The book demonstrates that the emergence of the first intensive postwar film producers' network in Asia was, in large part, the offspring of Cold War cultural politics and the product of American hegemony. Film festivals that took place in cities as diverse as Tokyo, Singapore, Hong Kong, and Kuala Lumpur were annual showcases of cinematic talent as well as opportunities for the Central Intelligence Agency to establish and maintain cultural, political, and institutional linkages between the United States and Asia during the Cold War. This book reanimates this almost-forgotten history of cinema and the film industry in Asia.


Author(s):  
Walter Aaron Clark

This chapter focuses on Latin American singer and actress Carmen Miranda, who helped create an all-purpose, homogeneous image of Latin Americans, their culture, and especially their music. Hollywood used Miranda as a do-all prop in dramatic settings as diverse as New York, Rio de Janeiro, Buenos Aires, Havana, and Mexico. The resulting conflation of costumes, instruments, musical genres, and languages is highly entertaining on one level but pernicious and (at the time) politically counterproductive on another. The partial coverage by US news media of events in South America left a gap that is “often filled by fictional representations in motion pictures and television shows. Film, in particular, has played a major role in shaping modern America's consciousness of Latin America.”


2020 ◽  
pp. 104-121
Author(s):  
Amanda Egbe

Focusing on Edison’s early cinematic apparatus and the optical printer, this chapter explores how copyright law intersects with creativity, providing an alternative to teleological accounts of moving-image technologies. Thomas Edison attempted to control the film industry through patents and copyright. Edison’s first film experiments were registered as a series of photographs on card by his assistant, W. L. Dickson. In protecting these contact copies as paper prints with copyright, the new medium of motion pictures was being formalized. The necessity to duplicate film to support the development of exhibition and distribution was also necessary for copyright purposes. An archaeological approach is utilized to explore how paper prints enabled innovation in the area of the optical printer, a primary form of duplication in cinema. In developing approaches that could bring to life the remaining examples of early cinema, novel solutions in the form of innovations were required. The overlapping concerns of the copyright clerk, the film entrepreneur, and the film historian thus provide a basis for new materials and new innovations in moving-image technology and film history.


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