By Ronald Holloway
Booklet through Holloway, Ronald
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Extra info for Beyond the Image: Approaches to the Religious Dimension in the Cinema
It is to be found too in the Art Academy's "stories-in-paintings," which turned to real life for inspiration while unveiling the bitter truth in the process. These paintings became the models for one-reel FROM THE "PASSION PLAY" TO "INTOLERANCE" 47 movie sermons a half-century later. Between 1908 and 1914, the years the American cinema moved to the forefront, the motion pictures preached with a passion Victorian attitudes contained in the poetry of Browning and Tennyson and the novels of Charles Dickens.
The awkward circumstances leading up to the code's second revision in 1966 were reflected in editorials appearing in the Motion Picture Herald in the summer of that year: "Virginia Woolf and the Code" The crisis in the Motion Picture Association (MPA) over Who's Afraid of Virginia Woolf? has been resolved-as had been widely predicted-by the appeal to the Review Board. As constituted the Board is unlikely to deny a Code Seal to any film brought before it. In the case of Virginia Woolf an "exception" was granted.
Adolph Zukor imported Queen Elizabeth to America, founded the enterprising "Famous Players in Famous Plays" (attracting stage actors and a sophisticated public to high-class movie houses), and went around the policies of the Patents Company to start a "feature craze". Built on a "states' rights distribution" plan, the feature-film supply from Europe was the doorway to success for many of Hollywood's future moguls. 50 admission fee. The nickelodeon was dead. The inventive age of cinema between 1895 and 1915 had its mystical side for audiences new to the magic of the seventh art.
Beyond the Image: Approaches to the Religious Dimension in the Cinema by Ronald Holloway