Silent Film, Swedish Silent Film: Biograph and Svenska Bio; D.W. Griffith and Victor Sjostrom: Scott Lord Silent Film: Pearl White in The Perils of Pauline, The Shatter...

Wednesday, May 7, 2025

Scott Lord Silent Film: Pearl White in The Perils of Pauline, The Shatter...

Silent Film

The Swedish censorship of 1911 prevented "The Perils of Pauline from becoming familiar to audieneces in Sweden. Marina Dahlquist, in her article "The Best Known Woman in the World" writes that the cliffhanger "constituted precisely the type of films that the Swedish national censorship body was ser up to weed out from the market, aside from sexually tinged Danish melodrama." Dahlquist adds that there had also been a lack of publicity for the film, a lack of dvertising, or "newspaper-magazine tie ins".

Silent Film

Perils of Pauline, Silent Cliffhanger

Scott Lord on Silent Film, Scott Lord on Danish Silent Film, Scott Lord on Swedish Film, Scott Lord on Mystery Film

Scott Lord on Silent Film- please enjoy screening the Hollywood Silent Film and Scandinavian Silent Film that has survived and that we do still have today and then continue to descriptions and biographical accounts of lost silent films, of which there are no surviving copies that can be presently screened including Sherlock Holmes,Douglas Fairbanks, Rudolph Valentino, Greta Garbo and Lon Chaney in my paper “Lost Film, Found Magazines” : viewing reviews of silent film printed during their first run and viewing posters, lobby cards and magazine advertisements to study lost silent films within the context of the director’s career and the growing popularity of its star within a specific genre. The films of D.W. Griffith and G.W. BItzer with Mary Pickford, Lillian Gish and Blanche Sweet. Swedish Silent Film of Victor Sjostrom, Victor Seastrom in the United States, Mauritz Stiller, John Brunius and George af Klercker. the Danish Silent Film of August Blom and Carl Th. Ďreyer.

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Lost Silent Film: Lost Film, Found Magazines

In regard to my writing Lost Films, Found Magazines, primarily spurred on by an interest in the Swedish Silent Film of Victor Sjostrom after the death of Ingmar Bergman, fifty years earlier author Gary Carey gave the hope of his publication, “to fill in some lacunae in film scholarship and in sheer film-going by presenting the only remnants of these films, still photographs designed for publicity purposes and plot synopses culled from various publications of the period.” In effect, extratextural discourse that could also include the autobiographical. Gary Carey, writing about his book Stills From Lost Films for the Museum of Modern Art in 1970 addresses use of stills to supplement the lack of existing celluloid, “Stills of course are handy as illustrations or references, but are far from dependable. Most stills are shot by a photographer after the scene has been completed on the set. The actors are asked to repeat bits of action for the still cameraman. There little that the still photograph bears resemblance to the scene of the film.”

Victor Sjostrom

Victor Seastrom Swedish Silent Film More properly the headlines should read, "Garbo Talks, Seastrom Returns Home." Victor Seastrom who had worked in the Swedish theater before pioneering in Swedish Film, returned to Sweden with the advent of the sound film, not to direct, but to act. As in Hollywood, the exterior of the Swedish landscape that had established Sjostrom, Stiller and Molander during the golden age of Swedish Silent Film had taken the innovation of sound back to the proscenium arc of the interior with Molander managing the transition to dialogue centered films.