Early Scandinavian SIlent Film,: FIlmed Theater and the Cinema of Attractions/Cinema of Narrative Integration

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 films "Gosta Berlingsland Bilder fran Frysdan" (1907), "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 when compared to other Swedish cameramen of the time.

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" (Lika mot lika, 1906), directed by Knut Lambert and starring Tollie Zelman.

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 "Anna Norrie".

William Rothman writes that only one sixth of the silent film shot before 1907 had storyline. 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 funeraof 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.

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) having been directed by Alfred Lind for Frans Lundberg in 1910.

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.

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.

Silent Film

Swedish Silent Film