Review: Silent Serial Sensations: The Wharton Brothers and the Magic of Early Cinema , by Barbara Tepa Lupack
2022; University of California Press; Volume: 99; Issue: 3 Linguagem: Inglês
10.1525/ch.2022.99.3.73
ISSN2327-1485
Autores Tópico(s)American History and Culture
ResumoBook Review| August 01 2022 Review: Silent Serial Sensations: The Wharton Brothers and the Magic of Early Cinema, by Barbara Tepa Lupack Barbara Tepa Lupack. Silent Serial Sensations: The Wharton Brothers and the Magic of Early Cinema. Ithaca, NY: Cornell University Press, 2020. 408 pp. Paperback $22.95. Foster Hirsch Foster Hirsch FOSTER HIRSCH is professor of film at Brooklyn College of the City University of New York and the author of numerous books on film and theater, including The Dark Side of the Screen: Film Noir (1981) and A Method to Their Madness: The History of the Actors Studio (2001). His latest book, Hollywood in the 1950s: All This and Cinemascope Too, will be published by Knopf in early 2023. Search for other works by this author on: This Site PubMed Google Scholar California History (2022) 99 (3): 73–74. https://doi.org/10.1525/ch.2022.99.3.73 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Foster Hirsch; Review: Silent Serial Sensations: The Wharton Brothers and the Magic of Early Cinema, by Barbara Tepa Lupack. California History 1 August 2022; 99 (3): 73–74. doi: https://doi.org/10.1525/ch.2022.99.3.73 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentCalifornia History Search Barbara Lupack’s informative new book examines the work of the overlooked Wharton Brothers, pioneer independent filmmakers who produced popular serials at their own studio in Ithaca. It is likely that most filmgoers with a smattering of knowledge about early films would be able to identify only one serial, The Perils of Pauline (1914), and could name only one performer, Pearl White, whose career was linked to the format. Lupack’s history, however, makes it clear that in the 1910s, as narrative filmmaking was rapidly expanding in both length and subject matter, serials were a flourishing form. They attracted prominent actors such as Lionel Barrymore and Francis X. Bushman and were treated with respect by critics, exhibitors, and audiences. To be sure, studios marketed their serials with Barnumesque flair—promotions emphasized visual thrills and spectacular stunts—but in form and subject they often had a modern touch and, as Lupack points out, a distinctly... You do not currently have access to this content.
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