{"title":"潜水:1910年代阿斯塔·尼尔森和弗兰西斯卡·贝尔蒂尼的电影在澳大利亚影院的发行量","authors":"Julie K. Allen","doi":"10.1080/17503175.2017.1385142","DOIUrl":null,"url":null,"abstract":"ABSTRACT The early Australian cinema market was a lucrative target for export-dependent European film producers, from the French Pathé Frérès to the Danish Nordisk Films Kompagni. By 1913, cinema attendance was a national pastime in Australia, with approximately 12% of the population going to the pictures every Saturday night. Australian film production was innovative but too limited to meet domestic demand. As a result of this disparity in supply and demand, coupled with the innovative artistry of European silent films, a significant percentage of the films shown in Australia in the pre-World War I years were imported from Europe. Initially, most of these films were advertised simply by their title and occasionally the production company. Despite such minimal branding, many of these films were in continuous circulation on urban and provincial cinema circuits for years at a time. However, with the emergence of the monopoly-distribution system and associated rise of the star culture that sold films on the strength of an actor or actress's name, several European stars began to develop an devoted Australian following. Most of the early European stars who made a name for themselves in Australia were women, notably the Danish actress Asta Nielsen and the Italian actress Francesca Bertini. This article maps the scope of these female European stars’ popularity in pre-World War I Australia and explores the circulation conditions that facilitated their stardom, particularly in relation to the transformation of Australian production, distribution, and exhibition systems in the early 1910s, as well as during and after World War I.","PeriodicalId":51952,"journal":{"name":"Studies in Australasian Cinema","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2017-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503175.2017.1385142","citationCount":"0","resultStr":"{\"title\":\"Divas down under: the circulation of Asta Nielsen's and Francesca Bertini’s films in Australian cinemas in the 1910s\",\"authors\":\"Julie K. Allen\",\"doi\":\"10.1080/17503175.2017.1385142\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACT The early Australian cinema market was a lucrative target for export-dependent European film producers, from the French Pathé Frérès to the Danish Nordisk Films Kompagni. By 1913, cinema attendance was a national pastime in Australia, with approximately 12% of the population going to the pictures every Saturday night. Australian film production was innovative but too limited to meet domestic demand. As a result of this disparity in supply and demand, coupled with the innovative artistry of European silent films, a significant percentage of the films shown in Australia in the pre-World War I years were imported from Europe. Initially, most of these films were advertised simply by their title and occasionally the production company. Despite such minimal branding, many of these films were in continuous circulation on urban and provincial cinema circuits for years at a time. However, with the emergence of the monopoly-distribution system and associated rise of the star culture that sold films on the strength of an actor or actress's name, several European stars began to develop an devoted Australian following. Most of the early European stars who made a name for themselves in Australia were women, notably the Danish actress Asta Nielsen and the Italian actress Francesca Bertini. This article maps the scope of these female European stars’ popularity in pre-World War I Australia and explores the circulation conditions that facilitated their stardom, particularly in relation to the transformation of Australian production, distribution, and exhibition systems in the early 1910s, as well as during and after World War I.\",\"PeriodicalId\":51952,\"journal\":{\"name\":\"Studies in Australasian Cinema\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2017-05-04\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1080/17503175.2017.1385142\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Studies in Australasian Cinema\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/17503175.2017.1385142\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studies in Australasian Cinema","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17503175.2017.1385142","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
引用次数: 0
摘要
摘要从法国的PathéFrérès到丹麦的Nordisk Films Kompagni,早期的澳大利亚电影市场是依赖出口的欧洲电影制片人的利润丰厚的目标。到1913年,看电影已经成为澳大利亚的一项全国性消遣,大约12%的人口每周六晚上都会去看电影。澳大利亚的电影制作具有创新性,但过于有限,无法满足国内需求。由于这种供需差距,再加上欧洲无声电影的创新艺术,第一次世界大战前在澳大利亚放映的电影中有很大一部分是从欧洲进口的。最初,这些电影大多只是通过片名做广告,偶尔也会通过制片公司做广告。尽管品牌如此之小,但其中许多电影在城市和省级影院连续几年发行。然而,随着垄断发行体系的出现,以及以演员或演员的名字销售电影的明星文化的兴起,几位欧洲明星开始在澳大利亚培养忠实的追随者。在澳大利亚成名的早期欧洲明星大多是女性,尤其是丹麦女演员阿斯塔·尼尔森和意大利女演员弗兰西斯卡·贝尔蒂尼。本文描绘了这些欧洲女明星在第一次世界大战前澳大利亚的受欢迎程度,并探讨了促进她们成为明星的流通条件,特别是与1910年代初以及第一次世界战争期间和之后澳大利亚生产、分销和展览系统的转变有关。
Divas down under: the circulation of Asta Nielsen's and Francesca Bertini’s films in Australian cinemas in the 1910s
ABSTRACT The early Australian cinema market was a lucrative target for export-dependent European film producers, from the French Pathé Frérès to the Danish Nordisk Films Kompagni. By 1913, cinema attendance was a national pastime in Australia, with approximately 12% of the population going to the pictures every Saturday night. Australian film production was innovative but too limited to meet domestic demand. As a result of this disparity in supply and demand, coupled with the innovative artistry of European silent films, a significant percentage of the films shown in Australia in the pre-World War I years were imported from Europe. Initially, most of these films were advertised simply by their title and occasionally the production company. Despite such minimal branding, many of these films were in continuous circulation on urban and provincial cinema circuits for years at a time. However, with the emergence of the monopoly-distribution system and associated rise of the star culture that sold films on the strength of an actor or actress's name, several European stars began to develop an devoted Australian following. Most of the early European stars who made a name for themselves in Australia were women, notably the Danish actress Asta Nielsen and the Italian actress Francesca Bertini. This article maps the scope of these female European stars’ popularity in pre-World War I Australia and explores the circulation conditions that facilitated their stardom, particularly in relation to the transformation of Australian production, distribution, and exhibition systems in the early 1910s, as well as during and after World War I.