By Patrice Petro, Scott Curtis, Professor Mary Desjardins, Lucy Fischer, Krin Gabbard, Professor Gerd Gemunden, Professor Lea Jacobs, Professor Amy Lawrence, Paula J. Massood, Professor Joanna E. Rapf, Professor Yiman Wang, Charles Wolfe
Bringing jointly the simplest new paintings on cinema and stardom within the Nineteen Twenties, this illustrated assortment showcases the diversity of advanced social, institutional, and aesthetic concerns at paintings in American cinema of this time. conscious of stardom as an ensemble of texts, contexts, and social phenomena stretching past the cinema, significant students supply cautious research of the careers of either recognized and now forgotten stars of the silent and early sound era—Douglas Fairbanks, Buster Keaton, the Talmadge sisters, Rudolph Valentino, Gloria Swanson, Clara Bow, Colleen Moore, Greta Garbo, Anna might Wong, Emil Jannings, Al Jolson, Ernest Morrison, Noble Johnson, Evelyn Preer, Lincoln Perry, and Marie Dressler.
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Additional resources for Idols of Modernity: Movie Stars of the 1920s
By day, he presents himself as a feminized, fey, easily fatigued fop who is concerned with little beyond his slight sleight-of-hand parlor tricks (which nevertheless hint that all is not as it appears). By night, however, he is the dashing masked avenger known as Zorro, who protects the exploited poor from the whip of tyranny. The original inspiration for leagues of superheroes, Zorro combined thrilling swordplay, secret identities, and intrigues with a historical setting. Fairbanks had been interested in costume dramas for some time; A Modern Musketeer (1917) featured a winking historical prologue in which he plays a swashbuckler.
The company was renamed Buster Keaton Productions in 1922, and Keaton would continue Buster Keaton, in character for the modern story in Three Ages, poses at the Keaton Studio in 1923. Publicity still. 41 42 CHARLES WOLFE to make comedies under this banner until 1928. He was among a handful of silent comedians schooled in vaudeville knockabout who in the 1920s came to exercise substantial control over the production of their ﬁlms, made a successful transition from short comedies to features, and achieved international stardom on a scale that would not have been possible on the stage.
Adding to his enthusiasm was his longstanding fascination with the character of D’Artagnan, to whom he would return with his last silent ﬁlm, The Iron Mask (1929). For some, such as critic Robert Sherwood, no other actor could have played D’Artagnan with as much panache: “When Alexandre Dumas sat down at his desk, smoothed his hair back, chewed the end of his quill pen, and said to himself, ‘Well, I guess I might as well write a book called The Three Musketeers,’ he doubtless had but one object in view: to provide a suitable story for Douglas Fairbanks to act in the movies” (Life, 22 September 1921, 78).