Lea Jacobs's The decline of sentiment : American film in the 1920s PDF

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Extra resources for The decline of sentiment : American film in the 1920s

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1 Salome was not only visually stylized, but assimilated the sexual decadence frequently associated with aestheticism. Echoes of both exotic visual motifs and sexual decadence also 25 26 / Hollywood Naturalism 1 2 3 4 occur in more mainstream Hollywood fare, often to represent villainy, or motivated historically, as when a film represents a period as decadent. An example of the first may be found in the decors associated with Satan Synne in DeMille’s Affairs of Anatol (1921); the second can be seen in the Babylon story in Griffith’s Intolerance (1916).

In response to the film’s first intertitle, “Is real life interesting? ” Both Moving Picture World and Motion Picture News recommended exploitation schemes keyed to the ideas of realism and country life. Moving Picture World (June 14, 1919: 1679) proposed the advertising catch phrase “Another D. W. Griffith Masterpiece in Which He Tells a Simple Story of Everyday Life in a Highly Artistic and Satisfying Manner”; and Motion Picture News (June 7, 1919: 3813) suggested, “Now this is a simple little story with every scene laid in a country town and the nearest villain that we have is a sort of amateur near-vampire and the only violence a rather comic fight between the hero and another of the boys at college.

I said, thinking of the hard-working, self-respecting actress. “I know,” he replied. ” And he laughed again. ” And into that line I read the very base and cornerstone of that ribald Rabelaisian gusto and gaiety that has kept a substantial part of America laughing with him all of these years. 58 Like the dirty joke as discussed by Freud, this interchange takes as its object the unnamed actress, identified with good taste and, perhaps, vanity, who is undone by the Rabelaisian vigor of slapstick.

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