By John T. Soister
Throughout the Silent period, while such a lot movies handled dramatic or comedic takes at the "boy meets lady, boy loses lady" topic, different movies dared to take on such subject matters as rejuvenation, revivication, mesmerism, the supernatural and the gruesome. A Daughter of the Gods (1916), The Phantom of the Opera (1925), The Magician (1926) and 7 Footprints to devil (1929) have been one of the strange and startling motion pictures containing tale components that went some distance past the area of "highly unlikely." utilizing surviving documentation and their mixed services, the authors catalog and talk about those departures from the norm during this encyclopedic consultant to American horror, technological know-how fiction and delusion within the years from 1913 via 1929.
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Extra info for American Silent Horror, Science Fiction and Fantasy Feature Films, 1913-1929
The Bat was Carmen’s only relevant credit. Emily Fitzroy — with a splendid, stone-faced performance that never gives away that she’s pretty much always one step ahead of everybody, including The Bat—steals the acting honors here. The closest thing to a clue that West gives us on that score is her observation of the exchanges between Dale and the 23 putative gardener, a hint that Cornelia is constantly observing people. The wondrous thing about Fitzroy’s performance is that, despite her character’s tranquil demeanor, we never once doubt that she is in charge of the proceedings.
The chief beneﬁt was that West got to work with the genius production designer, William Cameron Menzies, who would personally design not only The Bat but also West’s next two ﬁlms. ” 22 seen by The Monster), his collaboration with Menzies brought that study to fruition. The camera in The Bat is not limited to eye-level compositions, and the screen is often reshaped by masking — as when The Bat dashes up a stairway and the sides of the stairs and the ceiling above are solid black, leaving only a diagonal slash across the screen.
Stuart Blackton; Supervisor J. Stuart Blackton; Scenario J. Stuart Blackton; Based on the novel Defenseless America by Hudson Maxim (New York, 1915); Cinematographers Leonard Smith, Arthur T. L. M. Berg Exposure to this picture for most of us has been limited to the couple of brief shots from Kevin Brownlow’s Hollywood Goes to War. For ages, ﬁlm historians believed that the only additional surviving footage of The Battle Cry of Peace consisted of a few fragmented scenes at the George Eastman House facilities in Rochester, New York — the source of Brownlow’s documentary.
American Silent Horror, Science Fiction and Fantasy Feature Films, 1913-1929 by John T. Soister