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Eine JPEG-Version dieses unbearbeiteten TIFF finden Sie unter File: Poster for Quo Vadis (1913 Stummfilm) - Lygia Bound to the Wild Bull - Original.jpg Texttranskription: McVicker's Starting May 5 / Monday Mat.
56 × 36cm Texttranskription: McVicker's Starting May 5 / Monday Mat.
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Die ursprüngliche TIFF-Version dieses Bildes finden Sie unter File: Poster for Quo Vadis (1913 Stummfilm) - Lygia Bound to the Wild Bull - Original.tiff Texttranskription: McVicker's Starting May 5 / Monday Mat.
Zusammenfassung
5. Mai "- Textanordnung macht die Reihenfolge der Lektüre unklar]
MATINEE JEDEN TAG EINSCHLIESSLICH SONNTAG, ALLE SITZE VORBEHALTEN 25 ¢. [Mit Logos wie "KLEINE" bzw. "CINES" auf beiden Seiten] GEORGE KLEINE PRÄSENTS THE CINES PHOTO DRAMA
QUO VADIS
G © K
LYGIA BOUND TO THE WILD BULL. Nr. 05337-B
[Links] DAS NATIONALE PTG. Plakat für Quo Vadis (1913 Stummfilm) - Lygia Bound to the Wild Bull - Original "George Kleine präsentiert das Cines-Foto-Drama Quo Vadis: Lygia Bound to the Wild Bull". Chromolithographie, Filmplakat für den Film von 1913. Das Urheberrecht für das Plakat liegt bei George Kleine. 56 x 36cm. [Oder "McVickers Ab Montag Mat. JEDE NACHT 25 ¢UND 50 ¢KEINE HÖHE. & ENG. CO., NEW YORK • CHICAGO • ST. LOUIS • [Rechts] KOPYRIGHTED 1913 VON GEORGE KLEINE
By 1908 there were 10,000 permanent movie theaters in the U.S. alone. For the first thirty years, movies were silent, accompanied by live musicians, sound effects, and narration. Until World War I, movie screens were dominated by French and Italian studios. During Great War, the American movie industry center, "Hollywood," became the number one in the world. By the 1920s, the U.S. was producing an average of 800 feature films annually, or 82% of the global total. Hollywood's system and its publicity method, the glamourous star system provided models for all movie industries. Efficient production organization enabled mass movie production and technical sophistication but not artistic expression. In 1915, in France, a group of filmmakers began experimenting with optical and pictorial effects as well as rhythmic editing which became known as French Impressionist Cinema. In Germany, dark, hallucinatory German Expressionism put internal states of mind onscreen and influenced the emerging horror genre. The Soviet cinema was the most radically innovative. In Spain, Luis Buñuel embraced abstract surrealism and pure aestheticism. And, just like that, at about its peak time, the silent cinema era ended in 1926-1928.
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