Scott Lord on the Silent Film of Greta Garbo, Mauritz Stiller, Victor Sjostrom as Victor Seastrom, John Brunius, Gustaf Molander - the Golden Age of Swedish Silent Film........Lost Films in Found Magazines, among them Victor Seastrom directing John Gilbert and Lon Chaney, the printed word offering clues to deteriorated celluloid, extratextual discourse illustrating how novels were adapted to the screen; the photoplay as a literature;how it was reviewed, audience reception perhaps actor to actor.
Urban Gad directed Asta Nielsen in her first film "The Abyss" (Afgrunden, 1910) in Denmark, a film often written about due to her popularity and to a scene contained in it in which she dances erotically. Uli Jung and Martin Lorperdinger, editors of Importing Asta Nielsen, the international filmstar in the making 1910-1914, see the rise of Asta Nielsen as meteoric with her first appearance on screen, "she became a well-known and popular actress in many countries on the continent in the 1910/11 season." The film is described by Casper Tybjerg as her "breakthrough film". Scholar Casper Tybjerg, University of Copenhagen/online instructor, notes that "The Abyss" was promoted as an art film, a drama in two acts. It was also that year that Urban Gad and Asta Nielsen would travel to Germany to film for Duetsche BIoscop. Assta NIelsen appeared on screen under Urban Gad's direction with cinematographer Karl Fruend behind the camera that year in the films "Moth" (Nachtfaler) and "The Strange Bird"" (Der Frerde Volgel). Asta Nielsen would later star with Greta Garbo for G.W. Pabst in "The Joyless Street".
Janet Bergstrom, in her paper Asta Nielsen's Early German Films, chronicles Asta Nielsen asking Urban Gad if he would write a film for her. "Afgrunden" not only secured an international audience for her but it heralded the film itself becoming an art form. Bergstrom notes Nielsen having written that she aspired to improve her acting ability by watching herself on the screen.
Although many films from the time period were adaptations of theatrical plays, "The Abyss" has no dialougue intertitles, but rather insert shots containing written letters. Both insert shots of printed material and dialougue intertitles are part of the diegesis of a silent film, whereas expository intertitles that either summarize the action or prepare the audience for it are not part of the film's diegesis, insert shots of letters bringing a more first person authorial camera that provides identification with the character.
