Barry Anthony - Böcker

The position of the kinetoscope in film history is central and undisputed; indicative of its importance is the detailed attention American scholars have given to examining its history. However, the Kinetoscope's development in Britain has not been well documented and much current information about it is incomplete and out of date. The purpose of the book is, for the first time, to present a comprehensive account of the unauthorized and often colorful development of British kinetoscopes, utilizing many previously unpublished sources. The commercial and technical backgrounds of the kinetoscope are looked at in detail; the style and content of the earliest British films analyzed; and the device's place in the wider world of Victorian popular entertainment examined. A unique legal case is revealed and a number of previously unrecorded film pioneers are identified and discussed.

In 1915, British moviegoers voted Fred Evans second only to Charles Chaplin as their favorite film comedian. Appearing as the roguish and anarchic "Pimple," Fred made 200 silent movies between 1910 and 1922, running amok in frantic chases and sending-up current events and fashions. With a rich family heritage in pantomime and music hall, Evans introduced a satirical approach to filmmaking, frequently lampooning the recently introduced feature films. Pimple's burlesques deflated the seriousness of such productions, providing subversive support for audiences adjusting to the the new form. But continual mockery of themes, acting styles and film techniques did not endear him to all. Changing public tastes and industry disapproval eventually resulted in an end to Evans' screen appearances and a return to the stage.As Evans has been almost entirely sidelined by film historians, this is the first book-length biography of him. It places Evans not only in a film context but within the wider entertainment and social perspectives of his time. Amongst topics discussed are the beginnings of the star system, war propaganda, the growth of film fandom and concerns about the influence of cinema on children.

Charlie Chaplin grew up in and around the music hall. His parents, aunt and their friends all earned their precarious livings on the stage and Chaplin himself started out his career touring music halls with a dance troupe. His experiences of the culture of the music hall were a major influence, shaping his style of acting and the films he made, most famously Limelight, which tells the story of a failing variety performer and which evoked painful memories of his own past. Chaplin was horrified to see how performers' lives were ruined when their audience turned against them and he was relieved to exchange the stresses of live performance for screen comedy. Barry Anthony here tells the story of the lives and careers of Chaplin's family and their music-hall circle - from 'dashing' Eva Lester to the great Fred Karno and from Chaplin's parents Hannah Hill and Charles Chaplin to 'The Great Calvero' himself.He reveals the difficult and often-tragic lives of London's variety community in the late-Victorian and Edwardian years, a time of great change in the music hall and entertainment scene, and in doing so sheds important new light on the inspiration behind Chaplin's genius, providing a fascinatingly fresh perspective on this popular cultural icon of the twentieth century.

The Strand is one of London's most iconic streets - today the bustling and thriving home of West End theatres and the luxurious Savoy hotel; in the Victorian era, the Strand was a much more seedy and destitute part of the city. Barry Anthony here explores the criminal and socially subversive behaviour which abounded in and around the Victorian Strand. He introduces us to a vast range of personalities - from prostitutes, confidence tricksters, vagrants and cadgers to the actors, comedians and music hall stars who trod the boards of the Strand's early theatres.

Apparently from Virginia, Birt Acres appeared out of nowhere in Britain aged 35, without a trace of his former life. Yet immediately he became a prominent figure in the late Victorian photographic world. He soon teamed up with Robert Paul to make a moving picture camera and then shot the first commercial films in Britain in spring 1895, in parallel with the work of the Lumière brothers in France, before repeating this in Germany. His innovations included being the first to establish a dedicated venue for watching films, to give a Royal Command Performance of moving pictures, to create screen advertising, and to design a home movie camera.A disdain for showbusiness led to Acres squandering the commercial opportunities he created, and initiated the erasure of his remarkable story. From early in the twentieth century, film historians have consistently underestimated and undervalued his achievements.In this book, for the first time, we see a detailed and compelling portrait of Birt Acres, with substantial new research on his early work in moving pictures and on the careers of his associates, leading directly to new interpretations of the importance of this elusive pioneer. It draws on a wealth of fresh sources, with a massively expanded filmography supporting this re-evaluation. Written by three specialists in early film history, this volume significantly revises the received story of Birt Acres, at the same time casting new light on the beginnings of cinema in Britain.