The ultimate chapter dealt with the influences of Hollywood movie on mainstream commercial German cinema of the era after Lubitsch had left his native country. These influences, I tried to point out, were way more widespread and significant than any German strategies that might be detected in Hollywood movies of the identical years. In libraries I went via movie-industry publications, primarily the Lichtbildbühne and Film-Kurier, and the two main technical journals of the Nineteen Twenties, Die Kinotechnik and Die Filmtechnik. Cinematography manuals and the memoirs of people who had worked with Lubitsch crammed in particulars of the director’s working strategies. Legal papers within the United Artists collection of the Wisconsin Center for Film and Theater Research shed light on Mary Pickford’s dealings with Lubitsch throughout and after their work on Rosita — dealings about which some broadly believed myths had persisted.
History Of The Motion Picture
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