The Transformation of Cinema, 1907-1915 (History of the American Cinema)

History of the American Cinema #2

by Eileen Bowser

Eileen Bowser chronicles the history of the American film business from the days of storefront nickelodeons to the premiere of D. W. Griffith's The Birth of a Nation . The effect of the surroundings―the size of the hall; whether the film was shown alone or along with vaudeville entertainment; and the size, quality, and relevance of the musical background―are all examined for their impact on the filmgoing experience.

Genres: Film, Nonfiction

352 pages, Paperback

First published January 1, 1990

Reviews

[Michael]

This book roughly covers the period today remembered as the “Nickelodeon Era” in film history, through its demise and transformation into something more closely resembling the later film industry in the United States. At the beginning of the period, many of the conventions of filmmaking would seem strange to us: for example, the majority of films were “actualities” or documentaries, most were very short (ten minutes or less) and they were shown in variety programs that would include slide shows, vaudeville routines, and audience sing-a-longs. Bowser explains the increased focus on narrative, increasing interest in longer subjects, and changes in venue and presentation well, without claiming that the new directions were “inevitable” or necessarily “superior” to the older standards. It also gives some insight into the difference in the largely “industrial” business that film was in the US versus the more “craftsman” approach taken in Europe, and how this influenced the formation of Hollywood at a time when the United States was just beginning to dominate the world market for motion pictures. At the beginning of this period, the US imported far more movies than it exported, but by the end, that equation had been reversed.

Bowser was the Curator in the Department of Film at the Museum of Modern Art at a time when access to film from this period and related materials were hard to come by. Today, many of the pictures under discussion can be accessed freely on the Internet (or at low cost through Netflix or streaming services), making it easier for a reader to follow her argument through a visual comparison. Also, archive.org has now made the MoMA’s collection of film magazines, especially Moving Picture World, online and searchable, making it possible to reproduce much of her research. The Moving Picture World is far and away the most frequently cited source in this book (indeed, several chapters cite it and only it), and this is both a strength and a weakness. As it was an industry magazine written by and for exhibitors, it gives unique insight into the period, particularly as the exhibitors had far more power during this period than later. However, it also limits her view and I often wondered what she was missing.

One example of an error produced by her limited reading (although this could have been corrected without using other sources) is her attribution of a quote to Richard Hollaman, based on an anonymously-written column called “The Man About Town.” She claims that “internal evidence” shows him to be the author. This column was actually written by William John Watkins, who worked for the Vitagraph Company, as is revealed in a 1917 issue, which includes his obituary. Knowing that might have colored her reading of his opinion of a man who worked for the Edison Trust, since Vitagraph was part of that organization and Watkins may have had business reasons for praising him. But, presumably, she only read within the period she was studying and so missed that announcement.

Problems like that aside, however, this is a wonderful resource for anyone interested in the history of the movies, and particularly those who want a clearer understanding of the film industry of a century ago.

[Buckey Grimm]

AN outstanding look at the developments during some of the formative years in the Motion Picture Industry. Bowser does an outstanding job breaking down into different elements all of the different factors that changed the structure of Moviemaking in the first decade of the Moving Picture Industry.
Her writing is concise, and well researched as well as being a well structured narrative. For those interested in the what drove the changes in the industry, this is your starting point. Highly recommended,as well as the other 2 Volumes in this series ( Volume 1: The Emergence of Cinema : The American Screen to 1907 by Charles Musser and Volume 3 An Evenings Entertainment:The Age of the Silent Feature Picture 1915-1928 by Richard Koszarski)

[Kyle O'Shields]

I've read Volume Three (An Evening's Entertainment, 1915-1928) prior to this one and I must admit that I generally liked that one more. The writing style of The Transformation of Cinema was a little dry, in my opinion. I also found it a little off-putting that the author kept mentioning herself. There are many sentences like "I could find no evidence that such-and-such happened" or "In my research for the book..." I guess that this is more of a personal taste issue, but, in my opinion, this sort of writing demands that you not mention yourself.