E and M Robson, in their volume The Film Answers Back, note that upon being established in 1909, the Swedish Biograph Company "immediately excerted a great influence upon European cinema". Leslie Wood, in Mirace of the Movies adds that Swedish Silent Film during 1909 had propitiated a "comparatively late start compared with other nations and its output at first confined to scenic subjects".
Before Charles Magnusson, who became manager of Svenska Bio during 1909, had initiated the beginning of the classic period of the Golden Age of Swedish Silent Film, while Victor Sjostrom and Mauritz Stiller were involved with acting and theater production on the stages of Sweden, Sweden was not far behind other nations in producing one reel news footage and actualities. Documentary like news footage of royalty, Presidents and poltical personages was not uncommon during the transnational cinema of attractions and, notably, while under N.E. Sterner of Svenska Kinematograf, Charles Magnusson had photographed "Konung Haakongs mottanging i Kristiana" (1906), a short film on the King of Norway's visit to Kristiania, almost as though to presage that it would be there rather in the later Rasunda that the groundwork of his beginning the Swedish film industry would be laid, his also having directed the short films "Gosta Berlingsland Bilder fran Frysdan" ("Bilder fran Fryksdaeln,1907) an early lost Swedish Silent Film and example of his interest in the work of Selma Lagerlof and the Swedish landscape joining him tighter with the Golden Age of Swedish Silent Film and "Krigsbilder fran Bohusian", leaving the question of how much influence the cinema of attractions through the travelougue documentaries and newsreels of Magnusson had had upon the later camerawork of Jules Jaenzon. Photographer Charles Magnusson for Biokronan followed with "Gota elf katastafen" (1908) and Resa Stockholm-Goteborg genom Gota och Trollhatte kanalor" (1908).
Peter Cowie notes that despite the weather conditions of thick fog, Magnusson had shot the most professional footage of the event of the royal visit of the King of Norway when compared to other Swedish cameramen of the time. Peter Cowie writes about the dynamic between Charles Magnusson and the cinema of attractions, "He sensed that the short farces made by the aristocratic Carl Florman would only play into the hands of the showmen who were determined to exploit the cinema as if it were some circus spectacle.
Photographer Robert Olsson is listed as having worked on the filming of King Oscar in Kristianstad, his having filmed several of the earliest films photographed in Scandinavia before working with Carl Engdahl, among them "Pictures of Laplanders" (Lappbilder, 1906), "Herring Fishing in Bohuslan" (Sillfiske i Bohuslan, 1906) and "Equal to Equal" (Tit for Tat, Lika mot lika, 1906), directed by Knut Lambert and starring Tollie Zelman. John Fullerton, in his paper Intimate Theatres and imaginary scenes: film exhibition in Sweden before 1920, notes the presentational mode within the cinema of attractions in one reel comedies such as "Tit for Tat" suggesting a dynamic between fiction and actuality.
During 1897, Ernest Florman photographed Oscar II, King of Sweden, in a one minute film, "Landing of the King of Siam at the Logardtrappen", featuring the Crown Prince Gustaf. Author Peter Cowie, in his volume Scandinavian Cinema, credits Ernest Oliver Florman with having directed Sweden's first fiction film, "The Village Barber". During 1903 Florman directed actress Anna Norrie in the short film "Skona Helena".
Jan Christopher Horak typifies the cinema of attractions as a "fascination with movement within the frame". William Rothman writes that only one sixth of the silent film shot before 1907 had storyline. Author Charles Musser maintains that no more than four fifths of the films made by the Edison studios between 1904-1907 were narrative, or stage fiction. It is not suprising that Kenneth Magowan writing as ealy as 1965 in Behind the Screen divides early silent film into three periods: 1896-1905; 1906-1915 and 1916-1925. Form and content in film technique seem to have developed together. This can apparently refer to Sweden as well. Scholar Sandra Walker, University of Zurich writes, "At the time of Svenska Bio's first operations approximately 75% of the film produced in Sweden were nature films and journalistic reportage films. The journalistic films, such as the funeral of King Oscar II, in 1907, have been mentioned inconnection with the development of narrative techniques." It would be interesting to as if from the choice of these subjects we could infer a need or desire to view narrative on the screen or if the subjects were suggestive of real life stories that might be expanded into fictional fantasy, a deigesis that might be exotic or with which we were ordinarily familiar, causing us to wonder what would happen later, identifying with the subject for that reason.
Film historians have noted that Kristianstad, Sweden was home to another early Swedish Silent Film, "The Man Who Takes Care of the Villian" (Han som clara boven), filmed in 1907. Produced by Franz Wiberg, the film has never been released theatrically. It appears to be the first example of narrative integration, ie. fiction film, in Sweden. On further study, the film was the only film directed by Oscar Soderholm, who went on to be an actor for director Carl Engdahl in 1910. The film has been listed as being presumed lost, with no surviving copies existing.
Forsyth Hardy, in his volume Scandinavian Film mentions cameraman Julius Jaenzon as having been in the United States during 1907 to make a film of Teddy Roosevelt (Report from the United States on President Theodore Roosevelt). Author Aleksander Kwiatkowski gives an account of Charles Magnusson having sent Julius Jaenzon to America during 1911 to shoot footage of Niagra Falls. Ironically, Julius Jaenzon has been credited with having photographed the funeral of playwright August Strindberg in Stockholm (August Strindberg's Begravning, 1912). The film was produced by Pathe Freres at a time when Jaenzon had directed himself almost entirely to narrative films. Not incidentally, the Intima Teatern (Intimate Theater) was closed with Strindberg's death, it already having had been long bankrupt.
Writing about what control Theodore Roosevelt may have had over his likeness or public image, Roosevelt supressing an early newsreel due to a woman in a skirt with sensuous legs having entered the frame, scholar Jan Olsson sees the cinema of attractions as having been flaneuran but while discussing the "unnoticed camera", Olsson comes near to a cinema of attractions cinema of narrative integration chronology by looking to Richard deCardova's discourse analysis and screen bodies, the plasticity of human form onscreen, models posing as photographic discourse and performers acting as theatrical discourse.
The periodical Nickelodeon in 1909 chronicled the Swedish National Moving Picture Company, headed by Ture Marcus, as having exhibited footage showing "scenes from the life of King Oscar" and his funeral to audiences in the United States.
Laura Horak, in The Global Distribution of Swedish Silent Film notes that before 1910 the film made by Charles Magnusson and Svenska Bio did not circulate widely outside Sweden, the first widely popular Swedish export, "To Save a Son" (Massosonns offer), it having had been directed by Alfred Lind for Frans Lundberg in 1910. The film features actress Agnes Nyrup Christensen in the first of a handful of appearances as a Swedish Silent film actress.
Swedish Silent Film producer Frans Lundberg in 1910 filmed "The People of Varmland" (Varmlandinggarna) directed by Ebba Lindkvist, photographed by Ernst Dittmer and starring actresses Agda Malmberg, Astrid Nilsson and Esther Selander.
In Kristianstad, Sweden, Svenska Biografteatern released the film "The People of Varmland" (Varmlannigarne)directed by Carl Engdahl during 1910, the film having starred actresses Ellen Stroback, Kattie Jacobsson, Ellen Hallberg and Frida Greiff.
Peter Cowie, in his volume Scandinavian Cinema notes that the early silent narrative films of Carl Engdahl filmed in Kristianstad exhibited "the bucolic, folkloric tinge that would colour so much of Swedish cinema in the years ahead." Forsyth Hardy, in his volume Scandinavian Film, prefigures the historiography of transnational analysis within genre theory when noting that "Men of Varmland", filmed at Kristianstad, held a "national theme that could not be duplicated elsewhere" 'and a "characteristic Swedish concern with national folklore and national landscape".
With an onscreen running time of over a half hour, the film "Entrusted Funds" (Anfortrodda medel), directed in 1911 by Ernest Dittmer for Frans Lundberg brought actresses Phillipa Fredrikssen and Agnes Nyring Christensen to the screen. The film is presumed lost with no surviving copies existing. Ernest Dittmer that year also directed the lost silent film "Rannsakningsdomaren", starring actresses Gerda Malberg and Ebba Bergman for Frans Lundberg. "The Black Doctor" (Den Svarte Doktorn), also directed that year for Stora Biografteatern by Frans Lundberg, held theatergoers in their seats for three quarters of an hour. Actress Olivia Norrie stars in the film, which is presumed lost, with no surviving copies existing.
In 1911, Gustaf Linden directed the film "The Iron Carrier" (Jarnbararen) photographed Robert Olsson and starring Ana-lisa Hellstrom and Gucken Cederborg. Scholar Mattias Lofroth, Stockholm University, includes the film among early Swedish Silent fiction films that illustrate an intermediality in an early Swedish cinema that "depended on their association on other media" in regard to "pictorialism and literary presentation", an intermediality that perhaps paved the way for audiences to find themselves no longer viewing a cinema of attractions, but a cinema of narrative integration.
Aleksander Kwaitowski, in his volume Swedish Film Classics, chronicles the shift if early cinema from documentary to fiction feature, "With Magnusson, Svenska Bio soon surged ahead. The result was a whole series of films patterned after the French film'dart, painstakingly crafted to the extent that limited running time allowed. Extremely stage-orientated versions of literary works were directed for the firm by Gustaf Linden. a theatrical director from Stovkholm."
While chronicling the move of Svenska Biografteatern from Kristianstad to Stockholm, then, during 1911, comprised of Julius Jaenzon and Charles Magnusson, author Forsyth Hardy in his volume Scandinavian Film, describes Swedish Silent Film prior to its Golden Age, "The camera remained static and the action was artificially concentrated in a small area in front of it." Hardy is describing the exingencies of the cinema of narrative integration after the theatricality of the novelties and actualities of the cinema of attractions, the second hand filmed theater left over from the camera technique of earlier news and travel footage.
Leslie Woods, author of Miracle of the Movies described Charles Magnusson, "He regarded the screen as much more akin to the printed page than to either the stage or photograph. Every Swedish film hpad an intellectual, almost lyrical, appeal to the mind rather than the eye or to emotions."
Author Bo Florin, Stockholm University, mentions that Julius Jaenzon's brother, Henrik Jaenzon, was also present at Svenska Bio in Lindingo. Among the first films for Svenska Biografteatern to which Henrik Jaenzon was assigned cinematographer were two directed by George af Klercker during 1912, "Jupiter pa Jordan" and "Musikas makt", starring Lilly Jacobsson. Both films are presumed to be lost, with no surviving copies existing.
During 1912 JuliusJaenzon was the photographer and director of the film "Condemned by Society".
Swedish Silent Film Director Anna Hofmann-Uddgren Silent Film
Swedish Silent Film
