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“This absorbing tale, documenting the forgotten history of early moviemaking in St. Augustine, is a must-read for film enthusiasts.”—Janelle Blankenship , coeditor of European Visions: Small Cinemas in Transition “Very few people have any idea that St. Augustine played any role in early film history. This book brings St. Augustine into a much larger film conversation.”—Christina Lane, author of Magnolia “This richly detailed book tells the story of early filmmakers’ adventures in St. Augustine and captures the excitement of their moviemaking escapades.”—Kathryn Fuller-Seeley, coauthor of One Thousand Nights at the Movies: An Illustrated History of Motion Pictures, 1895–1915 “Given that the great majority of these early films are now lost, Graham makes an important contribution to the study of Florida’s image on film.”—Jan-Christopher Horak, author of Saul Bass: Anatomy of Film Design “The ‘reel’ history of Florida and its contribution to the development of American film history has been left out of mainstream textbooks and accounts. Thomas Graham’s book is a link in the chain of that history and an important addition to film scholarship.”—Susan Doll, coauthor of Florida on Film: The Essential Guide to Sunshine State Cinema and Locations “Through entertaining stories of how St. Augustine lured studios and enriched filmmaking with Henry Flagler’s railroad and architecture, Graham adds new detail to our understanding of the silent film era.”—Rita Reagan, Norman Studios Silent Film Museum Before Hollywood, when America’s rising motion picture industry was based on the East Coast, early film stars like Rudolph Valentino, Thomas Meighan, Ethel Barrymore, and Oliver Hardy made movies in St. Augustine, Florida. Silent Films in St. Augustine tells stories of the leading film producers and actors who escaped New York winters—and kept the studio doors open—in St. Augustine’s sunshine and warm weather. Scenes for more than 120 films were made in St. Augustine from 1906 to 1926 by film companies including Thanhouser, Lubin, Éclair, Pathé, Edison, Vitagraph, and Paramount. The first feature-length Frankenstein movie, Life Without Soul, was partly shot in St. Augustine. Theda Bara became a “vamp” sensation for her role in A Fool There Was. Sidney Drew acted in the genderbending A Florida Enchantment. Noted directors Edwin S. Porter, Maurice Tourneur, and George Fitzmaurice also set up shop in the beach town. Filmmakers used St. Augustine’s striking architecture to create backdrops for movies set in exotic foreign locales. The famous Castillo de San Marcos, the stone houses on the narrow streets, and Henry Flagler’s Spanish Renaissance palace hotels were reimagined as Spain, Italy, France, Egypt, Arabia, South Africa, Brazil, and Hawaii. Residents of St. Augustine loved seeing film teams in action on their streets and would gather around the camera to watch the actors and marvel at the outlandish costumes. Cast as extras in larger productions, locals packed theater houses to catch a glimpse of themselves and their neighbors on the screen. Describing the lavish sets, theatrical action, and New York movie personalities that filled St. Augustine, Thomas Graham evokes an intensely creative time and place in the history of American moviemaking.
Long before sound became an essential part of motion pictures, Westerns were an established genre. The men and women who brought to life cowboys, cowgirls, villains, sidekicks, distressed damsels and outraged townspeople often continued with their film careers, finding success and fame well into the sound era--always knowing that it was in silent Westerns that their careers began. More than a thousand of these once-silent Western players are featured in this fully indexed encyclopedic work. Each entry includes a detailed biography, covering both personal and professional milestones and a complete Western filmography. A foreword is supplied by Diana Serra Cary (formerly the child star "Baby Peggy"), who performed with many of the actors herein.
Since the first films played in nickelodeons, controversial movies have been cut or banned across the United States. Far from Hollywood, regional productions such as Oscar Micheaux's provocative race films and Nell Shipman's wildlife adventures were censored by men like Major M.L.C. Funkhouser, the terror of Chicago's cinemas, and Myrtelle Snell, the Alabama administrator who made the slogan "Banned in Birmingham" famous. Censorship continues today, with Utah's case against Deadpool (2016) pending in federal court and Robert Rodriguez's Machete Kills (2013) versus the Texas Film Commission. This authoritative state-by-state account covers the history of film censorship and the battle for free speech in America.
When the Pilgrims landed at Plymouth Rock, St. Augustine was already half a century old. Founded in 1565, the city has been continuously inhabited ever since, and its architectural styles tell stories of boom and bust, fad and tradition, war and peace, modernization and historic preservation. This affectionate portrait of our oldest city offers a comprehensive survey of the many architectural features that have expressed the needs and preferences of St. Augustine's inhabitants over more than four centuries of Spanish, British, and American government. From the coquina stone structures of colonial times, through Victorian gingerbread and Henry Flagler's Spanish revival, to the cookie-cutter subdivisions and condominiums of modern times, the houses of St. Augustine are introduced in this lovely and readable book like characters in a historical drama. Each chapter highlights a broad historical period and includes a lively discussion of the city's distinctive character during that era. Representative styles and forms of each period are illustrated with color photographs and original watercolors by Jean Ellen Fitzpatrick.
St. Augustine conjures up images of Spanish architecture, a massive fort, splashes of color against a backdrop of river and ocean, and always, always the omnipresent tourist. This ancient town, established along the banks of the Matanzas River in 1565, is the oldest city in America. Founded to protect Spains trade route from South and Central America to Europe, this colorful community was thriving years before the Pilgrims landed on Plymouth Rock and decades before Jamestown was settled. No other place in the United States embodies more charm than this hallowed city. Within these pages, images taken from the St. Augustine Historical Societys archives will educate, enthrall, and entice history buffs, tourists, and residents alike. These vintage photographs will link readers to the past and transform them into more than mere spectators visiting a popular tourist attraction. Rediscover the Spanish connection and see how early settlers built their homes, harvested their crops, educated their children, and protected their land. Walk the same worn and winding paths that the towns forefathers trod and acknowledge both the good and the bad times of life before modernday conveniences. St. Augustine conjures up images of Spanish architecture, a massive fort, splashes of color against a backdrop of river and ocean, and always, always the omnipresent tourist. This ancient town, established along the banks of the Matanzas River in 1565, is the oldest city in America. Founded to protect Spains trade route from South and Central America to Europe, this colorful community was thriving years before the Pilgrims landed on Plymouth Rock and decades before Jamestown was settled. No other place in the United States embodies more charm than this hallowed city. Within these pages, images taken from the St. Augustine Historical Societys archives will educate, enthrall, and entice history buffs, tourists, and residents alike. These vintage photographs will link readers to the past and transform them into more than mere spectators visiting a popular tourist attraction. Rediscover the Spanish connection and see how early settlers built their homes, harvested their crops, educated their children, and protected their land. Walk the same worn and winding paths that the towns forefathers trod and acknowledge both the good and the bad times of life before modernday conveniences.
Previous edition: Chicago, Ill.: Lake Claremont Press, 1998, by Arnie Bernstein.
The first book-length study of pioneering and prolific filmmakers Ted and Leo Wharton, Silent Serial Sensations offers a fascinating account of the dynamic early film industry. As Barbara Tepa Lupack demonstrates, the Wharton brothers were behind some of the most profitable and influential productions of the era, including The Exploits of Elaine and The Mysteries of Myra, which starred such popular performers as Pearl White, Irene Castle, Francis X. Bushman, and Lionel Barrymore. Working from the independent film studio they established in Ithaca, New York, Ted and Leo turned their adopted town into "Hollywood on Cayuga." By interweaving contemporary events and incorporating technological and scientific innovations, the Whartons expanded the possibilities of the popular serial motion picture and defined many of its conventions. A number of the sensational techniques and character types they introduced are still being employed by directors and producers a century later.
In the early days of motion pictures—before superstars, before studio conglomerates, before even the advent of sound—there was a woman named Pearl White (1889–1938). A quintessential beauty of the time, with her perfectly tousled bob and come-hither stare, White's rise to stardom was swift; her assumption of the title of queen of American motion picture serials equally deserved. Born the youngest of five children in a small, rural Missouri farm town, White first began performing in high school. She would eventually make the decision to cut her education short, dropping out to go on the Trousdale Stock Company. A bit player in the early years of her career, she was eventually spotted by the Powers Film Company in New York. She made her film debut in 1910 and soon set herself apart from her female colleagues with her reputation for fearless performances that often involved her own stunt work. It was that same daring attitude that would put her on the map internationally as an actress. From flying airplanes to swimming across rapid rivers, to racing cars in serials like The Perils of Pauline (1914), White was undaunted by the demands of her onscreen career. She went on to star in popular serial classics such as The New Exploits of Elaine (1915), The Iron Claw (1916), The Fatal Ring (1917), and The Lightning Raider (1919). As active socially as she was professionally, White would also lend her audacious spirit to activism as she took part in the early feminist movement. Her bravery and mastery of her craft made her a positive role model for suffragettes who battled for women's rights in the United States. The Woman Who Dared: The Life and Times of Pearl White, Queen of the Serials, is the first full-length biography of this pioneering star. In this study of film history and female agency, Drew delves into the cultural impact of White's work and how it evolved along a concurrent trajectory with the social upheavals of the Progressive Era.
This guide covers all of North Florida and the Panhandle south through Gainesville, including Pensacola, Panama City, Tallahassee, Jacksonville, and St. Augustine. Whether you’re looking for a vacation spot on the Gulf Coast, a wild river to paddle, a dramatic waterfall, or a historic homestead to visit, seasoned travel writers Friend and Wolf show you the best of everything in the region. Coverage includes Gainesville, Pensacola, Panama City, Tallahassee, Jacksonville, and St. Augustine, with hundreds of authoritative and dependable lodging and dining recommendations for the entire area.
Cigar Box Lithographs Vol. 5 is a collection of stories from Canada’s past, which the author tells past using century-old cigar box lithographs as his guideposts. His collection of books, of which this is fifth in a series, pay homage to the heritage and culture of this country that have been largely neglected in today’s fast-paced, technology-driven society. Similar to its precursors, in Volume V readers are once again treated to Humber’s chatty, erudite writing style; reading it no doubt makes Cigar Box Lithographs fans feel like they’re sitting down with a treasured friend enjoying a long and fascinating conversation.