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Poster for Quo Vadis (1913 silent film) - Lygia Bound to the Wild Bull - Original
Summary
"George Kleine presents the Cines photo drama Quo Vadis: Lygia Bound to the Wild Bull." Chromolithograph, motion picture poster for 1913 film. Poster copyrighted to George Kleine. 56×36cm. A JPEG version of this unedited TIFF is available at File:Poster for Quo Vadis (1913 silent film) - Lygia Bound to the Wild Bull - Original.jpg
Text transcription:
McVicker's Starting May 5 / Monday Mat. [Or "McVicker's Starting Monday Mat. May 5" - text arrangement makes the reading order unclear]
MATINEE EVERY DAY INCLUDING SUNDAYS, ALL SEATS RESERVED 25¢. EVERY NIGHT 25¢ AND 50¢ NO HIGHER.
[With logos captioned "KLEINE" and "CINES" respectively on either side] GEORGE KLEINE PRESENTS THE CINES PHOTO DRAMA
QUO VADIS
G©K
LYGIA BOUND TO THE WILD BULL.
№ 05337-B
[Left] THE NATIONAL PTG. & ENG. CO., NEW YORK • CHICAGO • ST. LOUIS • [Right] COPYRIGHTED 1913 BY 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.