Through the Twenties, sound revolutionized the movie and cinema endured as probably the most major and renowned sorts of mass leisure on the planet. movie studios have been remodeled into significant firms, hiring a number of craftsmen and technicians together with cinematographers, editors, screenwriters, and set designers. The beginning of the famous person method supported the meteoric upward thrust and superstar prestige of actors together with Charlie Chaplin, Mary Pickford, Joan Crawford, Greta Garbo, and Rudolph Valentino whereas black performers (relegated to "race films") seemed every now and then in mainstream videos. The vintage Hollywood movie variety was once perfected and critical movie genres have been confirmed: the melodrama, western, historic epic, and romantic comedy, in addition to slapstick, technology fiction, and fantasy.In ten unique essays, American Cinema of the Twenties examines the movie industry's endured progress and prosperity whereas concentrating on very important topics of the period.
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Additional resources for American Cinema of the 1920s: Themes and Variations (Screen Decades: American Culture/American Cinema)
On rare occasions, Hollywood made a ﬁlm that focused on African American characters, like Paul Sloane’s Hearts in Dixie (1929), which concerns an elderly man who tries to save his grandson from his shiftless father (played by Stepin Fetchit). The twenties was also an era of labor unrest in America. Numerous steel strikes took place in 1920, as did a bombing on Wall Street near the House of Morgan (Allen 40, 62). Often, labor organizers were viewed as traitorous Communists. Attorney General A. Mitchell Palmer (who conducted numerous raids in 1920) had, in fact, predicted a Bolshevik coup for the same year.
In Allen 53–54) In many ﬁlms (like The Big Parade, which contained a comic scene of GIs inebriated and partying in Paris), the excesses of youthful drinking during Prohibition were treated lightly. ” In other works, however, the consequences of overindulgence were given a tragic spin. In Our Dancing Daughters, for example, a tipsy young woman falls to her death down a steep ﬂight of stairs. Signiﬁcantly, while the bar of the pre-Prohibition era was a decidedly male bastion, the speakeasy catered to both sexes (Allen 86; Miller 102).
For example, in Max and Dave Fleischer’s comic ﬁlm Chemical Ko-Ko (1929), a black janitor drinks a magic potion that turns him white. As soon as this happens, he puts down his mop and pail, no longer willing to work at a menial job. With such insulting cinematic portrayals, black audiences turned to “race movies”—ﬁlms with all-black casts that dealt with subjects relevant to African American life (residing in the North versus the South, the specter of lynching, the “uplift” movement, the role of religion).