LEADER 03178nam 22004575 450 001 9910813074903321 005 20200406050111.0 010 $a0-8135-9363-8 024 7 $a10.36019/9780813593630 035 $a(CKB)4950000000159906 035 $a(MiAaPQ)EBC5897700 035 $a(DE-B1597)529586 035 $a(OCoLC)1120697140 035 $a(DE-B1597)9780813593630 035 $a(EXLCZ)994950000000159906 100 $a20200406h20192019 fg 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe Movies as a World Force $eAmerican Silent Cinema and the Utopian Imagination /$fRyan Jay Friedman 210 1$aNew Brunswick, NJ : $cRutgers University Press, $d[2019] 210 4$dİ2019 215 $a1 online resource (v, 254 pages) $cillustrations 311 $a0-8135-9360-3 320 $aIncludes bibliographical references (pages 183-248) and index. 327 $tFrontmatter -- $tContents -- $tIntroduction: Motion Pictures and Modern Communion -- $t1. Enlightened Public Opinion: Postreform Progressivism, Mental Science, and Gerald Stanley Lee's "Moving-Pictures" -- $t2. "The Occult Elements of Motion and Light": Vachel Lindsay's Utopia of the Mirror Screen -- $t3. "The Motion Picture Is War's Greatest Antidote": Rescue as Release of Force in D. W. Griffith's Intolerance -- $t4. "Everything Wooed Everything": The Triumph of Morale over Moralism in Rupert Hughes's Souls for Sale -- $t5. "Little Grains of Sand": Positive Thinking and Corporate Form in Douglas Fairbanks's The Thief of Bagdad -- $tConclusion: Universal History and the Historicity of Film Entertainment -- $tAcknowledgments -- $tNotes -- $tIndex -- $tAbout the Author 330 $aThroughout the silent-feature era, American artists and intellectuals routinely described cinema as a force of global communion, a universal language promoting mutual understanding and harmonious coexistence amongst disparate groups of people. In the early 1920s, film-industry leaders began to espouse this utopian view, in order to claim for motion pictures an essentially uplifting social function. The Movies as a World Force examines the body of writing in which this understanding of cinema emerged and explores how it shaped particular silent films and their marketing campaigns. The utopian and universalist view of cinema, the book shows, represents a synthesis of New Age spirituality and the new liberalism. It provided a framework for the first official, written histories of American cinema and persisted as an advertising trope, even after the transition to sound made movies reliant on specific national languages. 606 $aUtopias in motion pictures 606 $aSilent films$zUnited States$xHistory 615 0$aUtopias in motion pictures. 615 0$aSilent films$xHistory. 676 $a791.43/672 700 $aFriedman$b Ryan Jay, $4aut$4http://id.loc.gov/vocabulary/relators/aut$01128056 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910813074903321 996 $aThe Movies as a World Force$94070572 997 $aUNINA