Pub Date : 2021-07-03DOI: 10.1080/17460654.2021.2058204
Julie K. Allen
ABSTRACT The circulation of early films was highly ephemeral, since films were regarded as consumable, interchangeable objects. Their rapid passage through cinemas, staying for just a few days or weeks, left few traces that can be used to document their movement a century later. Even in the case of films featuring a phenomenally successful star like the Danish actress Asta Nielsen in the burgeoning early cinema market of Australia and New Zealand (known collectively as Australasia or the Antipodes), few records of silent-era distribution or exhibition companies have survived to reveal which Asta Nielsen films they may have imported and screened, let alone what audiences thought of the films they were able to view. Fortunately, the open-access digitization of extensive archival newspaper holdings in New Zealand (paperspast.natlib.govt.nz) and Australia (trove.nla.gov.au) has made it possible to recreate much of the circulation history of many early films, thereby indicating their popularity and relative profitability. Such archival material confirms that Asta Nielsen was a well-known, highly valued star in the Australasian cinema firmament, with nearly two dozen films in circulation over a four-year period preceding the First World War. This article demonstrates how Trove and Papers Past can be used to follow the movement of the Asta Nielsen film When the Mask Falls/Wenn die Maske fällt (1912) through Australasia, contextualize it as part of a much larger phenomenon of Asta Nielsen films in the Antipodes, and situate it within the larger context of Australasian cinema exhibition and distribution in the pre-First World War era.
早期电影的流通是非常短暂的，因为电影被认为是可消费的，可互换的对象。他们在电影院快速穿行，只停留几天或几周，几乎没有留下痕迹，可以用来记录一个世纪后他们的运动。即使是在澳大利亚和新西兰(统称为澳大拉西亚或澳洲)蓬勃发展的早期电影市场上，以丹麦女演员阿斯塔·尼尔森(Asta Nielsen)这样非常成功的明星为主角的电影，也很少有无声时代发行或放映公司的记录能保存下来，以揭示他们可能进口和放映了哪些阿斯塔·尼尔森的电影，更不用说观众对他们能够观看的电影的看法了。幸运的是，在新西兰(paperspast.natlib. government .nz)和澳大利亚(trove.nla.gov.au)，大量报纸档案的开放获取数字化使得重现许多早期电影的流通历史成为可能，从而表明了它们的受欢迎程度和相对的盈利能力。这些档案材料证实了阿斯塔·尼尔森在澳大利亚电影界是一位知名的、备受重视的明星，在第一次世界大战之前的四年时间里，有近二十多部电影在流通。这篇文章展示了如何用《财富》和《过去的文件》来跟随阿斯特·尼尔森电影《当面具落下/Wenn die Maske fällt》(1912)在澳大拉西亚的运动，将其作为阿斯特·尼尔森电影在澳洲的更大现象的一部分，并将其置于澳大拉西亚电影在第一次世界大战前的展览和发行的更大背景下。
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Pub Date : 2021-07-03DOI: 10.1080/17460654.2021.2058188
Julie K. Allen
ABSTRACT In the thriving, import-dependent cinema market of pre-First World War Australasia, the transition to multireel narrative feature films facilitated the rise of a movie star culture based on crossover European theatre stars and film actors who exemplify Andrew Shail’s definition of a star as a celebrity whose fame is commodified as a production value. From 1908 through 1915, local distributors like T. J. West and Cosens Spencer imported European features in large numbers and with very little lag time, relying on the fame and talent of the featured stars to convert exhibitors and viewers to the longer, more expensive format and to make cinemagoing a high-status social event. This article draws on the Australasian media coverage of three representative stars – Sarah Bernhardt (France), Asta Nielsen (Denmark/Germany), and Francesca Bertini (Italy) — and several of their most prominent films to demonstrate how the newspaper marketing of such stars and the European narrative features in which they appeared contributed to boosting the prestige and aesthetic legitimacy of the cinema and developing a movie star system in Australia and New Zealand, well in advance of the emergence of a film star culture in the US. The gradual shift in public interest from crossover theatre stars like Bernhardt to purely cinematic stars like Bertini, by way of a liminal figure like Nielsen, illuminates this turn and the strategic marketing that helped bring it about.
在第一次世界大战前蓬勃发展的、依赖进口的澳大拉西亚电影市场中，向多卷叙事故事片的过渡促进了以跨界欧洲戏剧明星和电影演员为基础的电影明星文化的兴起，这些演员体现了安德鲁·谢尔对明星的定义，即明星的名气被商品化为一种生产价值。从1908年到1915年，T. J. West和科森斯宾塞(coss Spencer)等当地发行商大量引进欧洲故事片，而且几乎没有延迟，依靠主演明星的名气和才华，将放映商和观众转变为放映时间更长、价格更高的电影，使观影成为一种高地位的社交活动。本文借鉴了澳大拉西亚媒体对三位代表性明星的报道——莎拉·伯恩哈特(法国)、阿斯塔·尼尔森(丹麦/德国)和弗朗西斯卡·贝尔蒂尼(意大利)以及他们最著名的几部电影来证明这些明星的报纸营销以及他们出现的欧洲叙事特征如何有助于提高电影的声望和美学合法性并在澳大利亚和新西兰发展电影明星系统，远远早于美国电影明星文化的出现。公众的兴趣逐渐从像伯恩哈特这样的跨界戏剧明星转向像贝尔蒂尼这样的纯粹电影明星，通过尼尔森这样的有限人物，阐明了这一转变，以及帮助实现这一转变的战略营销。
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Pub Date : 2021-07-03DOI: 10.1080/17460654.2021.2058195
Friederike Grimm
ABSTRACT In view of the loss of all contracts and business correspondence on the three exclusive long feature film Asta Nielsen star series, finding the Spezial-Nummer der Asta Nielsen-Zeitung (Special Edition of the Asta Nielsen Magazine) from 11 November 1911 in the library of the German Film Institute (DFF) in Frankfurt am Main represents a small sensation. In this sales brochure, the Projections Actien-Gesellschaft ‘Union’ (PAGU) informed German cinema managers of the company’s conditions for renting the first Asta Nielsen series, i.e. graduated rental prices, planned release dates and suppliers. It reveals the organization and planning of the world’s first exclusive long feature film star series which included advance booking of the whole series and the splitting of the German film market into Monopolfilm distribution circuits. Furthermore, the twelve pages of the Spezial-Nummer der Asta Nielsen-Zeitung contain background information on the film star Asta Nielsen, ads for the first four long features of the series and models for local cinema advertising.
鉴于三部独家长片《亚洲尼尔森》明星系列的所有合同和商业信函都已丢失，在位于美因河畔法兰克福的德国电影学院(DFF)图书馆中找到了1911年11月11日的《亚洲尼尔森杂志特别版》(Special - nummer der asia Nielsen- zeitung)代表了一个小小的轰动。在这份销售手册中，PAGU向德国影院经理通报了该公司租赁第一部亚洲尼尔森系列影片的条件，即分级租赁价格、计划上映日期和供应商。它揭示了世界上第一个独家长片明星系列电影的组织和策划，包括整个系列的提前预订和德国电影市场分成垄断电影发行线路。此外，《亚洲尼尔森专题报》的12页载有电影明星Asta Nielsen的背景资料、该系列前四个长片的广告和当地电影院广告的模型。
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Pub Date : 2021-07-03DOI: 10.1080/17460654.2022.2059833
Yvonne Zimmermann
and of the suffering but conscientious character of the Nordic writers and dramatists of the eighteen-eighties. (The cinema is always a few years behind the reigning intellectual fashions.) In Asta Nielsen, the Danish film gave us an artist of real merit whose sphinxlike appeal was to last for many years. (Bardèche and Brasillach 1938 [1935], 57)
以及十九世纪八十年代北欧作家和剧作家痛苦而认真的性格。(电影总是比主流的智力时尚落后几年。)在亚洲尼尔森，丹麦电影给了我们一个真正有价值的艺术家，他的狮身人面像的吸引力持续了很多年。(bardatische and Brasillach 1938 [1935]， 57)
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Pub Date : 2021-07-03DOI: 10.1080/17460654.2021.2058197
Friederike Grimm
ABSTRACT A carnival float in the 1914 Cologne Rose Monday parade was designed under the slogan ‘Theatre Then and Now’. The float depicted a cinema under the headline ‘The Theatre of Today’, pointing out that the film industry was encroaching on actors, authors and topics of the classical legitimate theatre. While the cinema sector was booming in the city, the Cologne Schauspielhaus (Cologne Theatre) was suffering a severe decline in audience attendance. The painted draft of the carnival float illustrates in detail the discrepancy between cinema and legitimate theatre and what they offered its audiences: long feature films for high entrance fees versus free car rides and free buffet to lure audiences into classical Greek tragedies. The Cologne carnival float commented in a caricaturing way on how the cinema attained sold-out houses with its propositions, while the legitimate theatre remained empty.
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Pub Date : 2021-07-03DOI: 10.1080/17460654.2021.2058191
Martin Loiperdinger
ABSTRACT The ‘invention’ of the long feature film was the key tool used by production and distribution companies to try to solve the overproduction crisis of short films in Europe at the end of the first decade of the twentieth century. Neither cinema owners nor their patrons had clamoured for the shift from entertaining short film programmes to challenging long feature films that absorbed the viewer’s attention and required qualifications in creating meaning while watching moving pictures. Thus, it was the local cinema manager who had to succeed in attracting paying audiences to multiple-reel feature films that ran for one hour or longer – in some cases more than two hours. This essay presents a local study of the cinema programme in Trieste before the First World War that examines the selling points put forward in newspaper ads published in Il Piccolo, the most read daily newspaper at the time, with the aim of promoting long feature films. The evaluation of a sample of over 350 cinema advertisements shows that stars and divas like Asta Nielsen and Lyda Borelli were but one among other, some stronger, selling propositions to attract local audiences for long feature films. These other selling points were Danish dramas produced by Nordisk, Italian peplum films and programmes of short film comedies by Max Linder. This diversity in selling points for the long feature film testifies to the fact that though the star system was emerging, it had not yet been fully established as a means of marketing multiple-reel feature films by the end of the 1913–14 season, at least not in Trieste.
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Pub Date : 2021-07-03DOI: 10.1080/17460654.2021.2058184
Victor Chavez, Martin Loiperdinger
ABSTRACT This article examines Asta Nielsen’s exceptional position in the British film market in connection with the film renter Walturdaw’s pioneering star-based exploitation of long feature films on exclusive terms, in the seasons 1911–12 to 1913–14. Close readings of renters’ advertising in leading trade journals and of star portraits in fan magazines, supplemented by OCR research in The British Newspaper Archive on exhibitors’ advertising of a number of film stars in the local press, provide strong evidence that Asta Nielsen was the most prominent star of the multiple-reel feature format in Great Britain before the First World War. The unrivalled number of twenty long features offered for hire by one single renting company allowed Asta Nielsen to perform the renowned versatility of her acting with considerable frequency and even in unique repertoire programme formats. While comparatively high numbers of OCR hits are not synonymous with popularity, trade paper notes and local cinema ads allow heuristic conclusions on her popularity, at least in certain circumstances. Because she was promoted as a Scandinavian actress who was not bound to any production company, the German provenance of her multiple-reel features was quite unknown: thus, screenings of Asta Nielsen films which had been released before the war did not stop during the 1914–15 season.
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Pub Date : 2021-07-03DOI: 10.1080/17460654.2022.2059834
Friederike Grimm
ABSTRACT Based on nearly 5,000 cinema ads from German newspapers, this article reveals the marketing of the Asta Nielsen brand from 1911 to 1914 in 53 cities and towns in Germany. The three Asta Nielsen series were the first long feature star series in Europe to be distributed with exclusive exhibition rights. The distributor Internationale Film-Vertriebs-Gesellschaft m.b.H. (IFVG) supplied promotional materials such as ad models and sales brochures to support cinema managers’ advertising in their local newspapers. With the epithet ‘the Duse of cinema art’, uniform portrait vignettes and versatile character vignettes, IFVG tried to address several target groups at the same time. In the course of the three cinema seasons from 1911/12 to 1913/14, a change in the Asta Nielsen brand can be observed: the face of the brand changed from a figure with whom the average viewer could identify to an inimitable film diva and the references to legitimate theatre became less and less prominent. By analysing business-to-consumer communication, this article shows which promotional materials cinema managers adopted and which specific strategies they used to attract their local audience.
{"title":"The Asta Nielsen brand: advertising long feature star series in German local newspapers, 1911 to 1914","authors":"Friederike Grimm","doi":"10.1080/17460654.2022.2059834","DOIUrl":"https://doi.org/10.1080/17460654.2022.2059834","url":null,"abstract":"ABSTRACT Based on nearly 5,000 cinema ads from German newspapers, this article reveals the marketing of the Asta Nielsen brand from 1911 to 1914 in 53 cities and towns in Germany. The three Asta Nielsen series were the first long feature star series in Europe to be distributed with exclusive exhibition rights. The distributor Internationale Film-Vertriebs-Gesellschaft m.b.H. (IFVG) supplied promotional materials such as ad models and sales brochures to support cinema managers’ advertising in their local newspapers. With the epithet ‘the Duse of cinema art’, uniform portrait vignettes and versatile character vignettes, IFVG tried to address several target groups at the same time. In the course of the three cinema seasons from 1911/12 to 1913/14, a change in the Asta Nielsen brand can be observed: the face of the brand changed from a figure with whom the average viewer could identify to an inimitable film diva and the references to legitimate theatre became less and less prominent. By analysing business-to-consumer communication, this article shows which promotional materials cinema managers adopted and which specific strategies they used to attract their local audience.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"1 1","pages":"121 - 148"},"PeriodicalIF":0.2,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83799008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-28DOI: 10.1080/17460654.2021.1942566
Jessica A. Thomas
{"title":"Robert Seymour and nineteenth – century print culture: sketches by Seymour and comic illustration","authors":"Jessica A. Thomas","doi":"10.1080/17460654.2021.1942566","DOIUrl":"https://doi.org/10.1080/17460654.2021.1942566","url":null,"abstract":"","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"16 1","pages":"1 - 2"},"PeriodicalIF":0.2,"publicationDate":"2021-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84905665","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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