The Masked Woman
The Masked Woman is a lost 1927 silent film melodrama produced and distributed by First National Pictures. Filmed in France, it was the last screenwriting effort of famed June Mathis, who died in 1927, was directed by her husband Silvano Balboni a cinematographer. Anna Q. Nilsson, Holbrook Blinn and serial veteran Ruth Roland star. Anna Q. Nilsson - Diane Delatour Holbrook Blinn - Baron Tolento Einar Hanson - Dr. Rene Delatour Charlie Murray - Andre O'Donohue Gertrude Short - Mimi Ruth Roland - Dolly Green R. O. Pennell - Monsieur Lapoule Cora Macey - Matron Paulette Day - Baby The Masked Woman at IMDb.com allmovie/synopsis
Los Angeles the City of Los Angeles and known by its initials L. A. is the most populous city in California, the second most populous city in the United States, after New York City, the third most populous city in North America. With an estimated population of four million, Los Angeles is the cultural and commercial center of Southern California; the city is known for its Mediterranean climate, ethnic diversity and the entertainment industry, its sprawling metropolis. Los Angeles is the largest city on the West Coast of North America. Los Angeles is in a large basin bounded by the Pacific Ocean on one side and by mountains as high as 10,000 feet on the other; the city proper, which covers about 469 square miles, is the seat of Los Angeles County, the most populated county in the country. Los Angeles is the principal city of the Los Angeles metropolitan area, the second largest in the United States after that of New York City, with a population of 13.1 million. It is part of the Los Angeles-Long Beach combined statistical area the nation's second most populous area with a 2015 estimated population of 18.7 million.
Los Angeles is one of the most substantial economic engines within the United States, with a diverse economy in a broad range of professional and cultural fields. Los Angeles is famous as the home of Hollywood, a major center of the world entertainment industry. A global city, it has been ranked 6th in the Global Cities Index and 9th in the Global Economic Power Index; the Los Angeles metropolitan area has a gross metropolitan product of $1.044 trillion, making it the third-largest in the world, after the Tokyo and New York metropolitan areas. Los Angeles hosted the 1932 and 1984 Summer Olympics and will host the event for a third time in 2028; the city hosted the Miss Universe pageant twice, in 1990 and 2006, was one of 9 American cities to host the 1994 FIFA men's soccer World Cup and one of 8 to host the 1999 FIFA women's soccer World Cup, hosting the final match for both tournaments. Home to the Chumash and Tongva, Los Angeles was claimed by Juan Rodríguez Cabrillo for Spain in 1542 along with the rest of what would become Alta California.
The city was founded on September 4, 1781, by Spanish governor Felipe de Neve. It became a part of Mexico in 1821 following the Mexican War of Independence. In 1848, at the end of the Mexican–American War, Los Angeles and the rest of California were purchased as part of the Treaty of Guadalupe Hidalgo, becoming part of the United States. Los Angeles was incorporated as a municipality on April 4, 1850, five months before California achieved statehood; the discovery of oil in the 1890s brought rapid growth to the city. The completion of the Los Angeles Aqueduct in 1913, delivering water from Eastern California assured the city's continued rapid growth; the Los Angeles coastal area was settled by the Chumash tribes. A Gabrieleño settlement in the area was called iyáangẚ, meaning "poison oak place". Maritime explorer Juan Rodríguez Cabrillo claimed the area of southern California for the Spanish Empire in 1542 while on an official military exploring expedition moving north along the Pacific coast from earlier colonizing bases of New Spain in Central and South America.
Gaspar de Portolà and Franciscan missionary Juan Crespí, reached the present site of Los Angeles on August 2, 1769. In 1771, Franciscan friar Junípero Serra directed the building of the Mission San Gabriel Arcángel, the first mission in the area. On September 4, 1781, a group of forty-four settlers known as "Los Pobladores" founded the pueblo they called El Pueblo de Nuestra Señora la Reina de los Ángeles,'The Town of Our Lady the Queen of the Angels'; the present-day city has the largest Roman Catholic Archdiocese in the United States. Two-thirds of the Mexican or settlers were mestizo or mulatto, a mixture of African and European ancestry; the settlement remained a small ranch town for decades, but by 1820, the population had increased to about 650 residents. Today, the pueblo is commemorated in the historic district of Los Angeles Pueblo Plaza and Olvera Street, the oldest part of Los Angeles. New Spain achieved its independence from the Spanish Empire in 1821, the pueblo continued as a part of Mexico.
During Mexican rule, Governor Pío Pico made Los Angeles Alta California's regional capital. Mexican rule ended during the Mexican–American War: Americans took control from the Californios after a series of battles, culminating with the signing of the Treaty of Cahuenga on January 13, 1847. Railroads arrived with the completion of the transcontinental Southern Pacific line to Los Angeles in 1876 and the Santa Fe Railroad in 1885. Petroleum was discovered in the city and surrounding area in 1892, by 1923, the discoveries had helped California become the country's largest oil producer, accounting for about one-quarter of the world's petroleum output. By 1900, the population had grown to more than 102,000; the completion of the Los Angeles Aqueduct in 1913, under the supervision of William Mulholland, assured the continued growth of the city. Due to clauses in the city's charter that prevented the City of Los Angeles from selling or providing water from the aqueduct to any area outside its borders, many adjacent city and communities became compelled to annex themselves into Los Angeles.
Los Angeles created the first municipal zoning ordinance in the United States. On September 14, 1908, the Los Angeles City Council promulgated residential and industrial land use zones; the new ordinance established three residential zones of a single type, where industrial uses were
Argentine Love is a lost 1924 American silent romance drama film directed by Allan Dwan and based on a story by Vicente Blasco Ibanez that stars Bebe Daniels. Bebe Daniels as Consuelo Garcia Ricardo Cortez as Juan Martin James Rennie as Philip Sears Mario Majeroni as Senator Cornejo Russ Whytal as Emanuel Garcia Alice Chapin as Madame Garcia Julia Hurley as La Mosca Mark Gonzales as Rafael Cornejo Aurelio Coccia as Pedro Argentine Love on IMDb Synopsis at AllMovie
A silent film is a film with no synchronized recorded sound. In silent films for entertainment, the plot may be conveyed by the use of title cards, written indications of the plot and key dialogue lines; the idea of combining motion pictures with recorded sound is nearly as old as film itself, but because of the technical challenges involved, the introduction of synchronized dialogue became practical only in the late 1920s with the perfection of the Audion amplifier tube and the advent of the Vitaphone system. During the silent-film era that existed from the mid-1890s to the late 1920s, a pianist, theater organist—or in large cities, a small orchestra—would play music to accompany the films. Pianists and organists would play either from improvisation; the term silent film is a retronym—a term created to retroactively distinguish something. Early sound films, starting with The Jazz Singer in 1927, were variously referred to as the "talkies," "sound films," or "talking pictures." Within a decade, the widespread production of silent films for popular entertainment had ceased, the industry had moved into the sound era, in which movies were accompanied by synchronized sound recordings of spoken dialogue and sound effects.
Most early motion pictures are considered lost because the nitrate film used in that era was unstable and flammable. Additionally, many films were deliberately destroyed because they had little value in the era before home video, it has been claimed that around 75 percent of silent films have been lost, though these estimates may be inaccurate due to a lack of numerical data. The earliest precursors to film began with image projection through the use of a device known as the magic lantern, which utilized a glass lens, a shutter, a persistent light source to project images from glass slides onto a wall; these slides were hand-painted, after the advent of photography in the 19th century, still photographs were sometimes used. Thus the invention of a practical photography apparatus preceded cinema by only fifty years; the next significant step toward the invention of cinema was the development of an understanding of image movement. Simulations of movement date as far back as to 1828—only four years after Paul Roget discovered the phenomenon he called "Persistence of Vision."
Roget showed that when a series of still images is shown at a considerable speed in front of a viewer's eye, the images merge into one registered image that appears to show movement. This is an optical illusion, since the image is not moving; this experience was further demonstrated through Roget's introduction of the thaumatrope, a device that spun at a high speed a disk with an image on its surface. The three features necessary for motion pictures to work were "a camera with sufficiently high shutter speed, a filmstrip capable of taking multiple exposures swiftly, means of projecting the developed images on a screen." The first projected proto-movie was made by Eadweard Muybridge between 1877 and 1880. Muybridge set up a row of cameras along a racetrack and timed image exposures to capture the many stages of a horse's gallop; the oldest surviving film was created by Louis Le Prince in 1888. It was a two-second film of people walking in "Oakwood streets" garden, titled Roundhay Garden Scene.
The development of American inventor Thomas Edison's Kinetograph, a photographic device that captured sequential images, his Kinetoscope, a device for viewing those images, allowed for the creation and exhibition of short films. Edison made a business of selling Kinetograph and Kinetoscope equipment, which laid the foundation for widespread film production. Due to Edison's lack of securing an international patent on his film inventions, similar devices were "invented" around the world. In France, for example and Louis Lumière created the Cinématographe, which proved to be a more portable and practical device than both of Edison's as it combined a camera, film processor, projector in one unit. In contrast to Edison's "peepshow"-style kinetoscope, which only one person could watch through a viewer, the cinematograph allowed simultaneous viewing by multiple people, their first film, Sortie de l'usine Lumière de Lyon, shot in 1894, is considered the first true motion picture. The invention of celluloid film, strong and flexible facilitated the making of motion pictures.
This film was 35 mm wide and was pulled using four sprocket holes, which became the industry standard. This doomed the cinematograph; the art of motion pictures grew into full maturity in the "silent era". The height of the silent era was a fruitful period, full of artistic innovation; the film movements of Classical Hollywood as well as French Impressionism, German Expressionism, Soviet Montage began in this period. Silent filmmakers pioneered the art form to the extent that every style and genre of film-making of the 20th and 21st centuries has its artistic roots in the silent era; the silent era was a pioneering one from a technical point of view. Three-point lighting, the close-up, long shot and continuity editing all became prevalent long before silent films were replaced by "talking pictures" or "talkies" in the late 1920s; some scholars claim that the artistic quality of cinema decreased for several years, during the early 1930s, until film directors and production staff adapted to the new "talkies" around the late 1930s.
See You in Jail
See You in Jail is a 1927 silent film comedy directed by Joseph Henabery and starring Jack Mulhall. The film was distributed through First National Pictures. Jack Mulhall - Jerry Marsden Alice Day - Ruth Morrisey Mack Swain - Slossom George Fawcett - Marsden, Sr. Crauford Kent - Roger Morrisey John Kolb - Jailer William Orlamond - Inventor Leo White - Valet Carl Stockdale - Attorney Burr McIntosh - Judge Hauser Charles Clary - Rollins A copy of the film is preserved in the British Film Institute, National Film and Television Archive, London. See You in Jail at IMDb.com synopsis at AllMovie lobby poster
Jinx (1919 film)
Jinx is a 1919 film starring Mabel Normand and directed by Victor Schertzinger. It is not known whether the film survives, which suggests that it is a lost film. Mabel Normand... The Jinx Florence Carpenter... Rory Bory AliceOgden Crane... Bull HogarthCullen Landis... Slicker Evans Clarence Arper... Sheriff JepsonGertrude Claire... Aunt Tina Carbery Jinx on IMDb allmovie/synopsis.
First National Pictures
First National Pictures was an American motion picture production and distribution company. It was founded in 1917 as First National Exhibitors' Circuit, Inc. an association of independent theater owners in the United States, became the country's largest theater chain. Expanding from exhibiting movies to distributing them, the company reincorporated in 1919 as Associated First National Theatres, Inc. and Associated First National Pictures, Inc. In 1924 it expanded to become a motion picture production company as First National Pictures, Inc. and became an important studio in the film industry. In September 1928, control of First National passed to Warner Bros. into which it was absorbed on November 4, 1929. A number of Warner Bros. films were thereafter branded First National Pictures until 1936, when First National Pictures, Inc. was dissolved. The First National Exhibitors' Circuit was founded in 1917 by the merger of 26 of the biggest first-run cinema chains in the United States, it controlled over 600 cinemas, more than 200 of them first-run houses.
First National was the brainchild of Thomas L. Tally, reacting to the overwhelming influence of Paramount Pictures, which dominated the market. In 1912, he thought that a conglomerate of theaters throughout the nation could buy or produce and distribute its own films. In 1917 Tally and J. D. Williams formed First National Exhibitors' Circuit; the first film released through First National was The Mother of Dartmoor. Between 1917 and 1918, the company made contracts with Mary Pickford and Charlie Chaplin, the first million-dollar deals in the history of film. Chaplin's contract allowed him to produce his films without a set release schedule. However, the production of the feature film The Kid ran so long that the company started to complain. To address their concerns, Chaplin invited the exhibitors to the studio, they were so impressed by the project and charmed by the players co-star Jackie Coogan, that they agreed to be patient; that patience was rewarded when The Kid became a major critical and box office success.
First National's distribution of films by independent producers is credited with launching careers including that of Louis B. Mayer. Adolph Zukor of Paramount Pictures was threatened by First National's financial power and its control over the lucrative first-run theaters, decided to enter the cinema business as well. With a $10 million investment, Paramount built its own chain of first-run movie theaters after a secret plan to merge with First National failed. First National Exhibitors' Circuit was reincorporated in 1919 as Associated First National Pictures, Inc. and its subsidiary, Associated First National Theatres, Inc. with 5,000 independent theater owners as members. In the early 1920s, Paramount attempted a hostile takeover, buying several of First National's member firms. Associated First National Pictures expanded from only distributing films to producing them in 1924 and changed its corporate name to First National Pictures, Inc, it built its 62-acre studio lot in Burbank in 1926. The Motion Picture Theatre Owners of America and the Independent Producers' Association declared war in 1925 on what they termed a common enemy—the "film trust" of Metro-Goldwyn-Mayer and First National, which they claimed dominated the industry not only by producing and distributing motion pictures but by entering into exhibition as well.
The financial success of The Jazz Singer and The Singing Fool enabled Warner Bros. to purchase a majority interest in First National in September 1928. Warner Bros. held 42,000 shares of common stock out of 72,000 outstanding shares while Fox Pictures held 21,000 shares. Warner Bros. acquired access to First National's affiliated chain of theaters, while First National acquired access to Vitaphone sound equipment. Warner Bros. and First National continued to operate as separate entities. On November 4, 1929, Fox sold its interest in First National to Warner Bros. for $10 million. The First National studio in Burbank became the official home of Warner Bros.–First National Pictures. Thereafter, First National Pictures became a trade name for the distribution of a designated segment of Warner Bros. product. Forty-five of the 86 Warner Bros. feature films released in 1929 were branded as First National Pictures. Half of the 60 feature films Warner Bros. announced for release in 1933–34 were to be First National Pictures.
Although both studios produced "A" and "B" budget pictures the prestige productions, costume dramas, musicals were made by Warner Bros. while First National specialized in modern comedies and crime stories. Short subjects were made by The Vitaphone Corporation. In July 1936, stockholders of First National Pictures, Inc. voted to dissolve the corporation and distribute its assets among the stockholders in line with a new tax law which provided for tax-free consolidations between corporations. From 1929 to 1958, most Warner Bros. films and promotional posters bore the combined trademark and copyright credits in the opening and closing sequences "A Warner Bros.–First National Picture". In 2002, Time Warner sold the rights for the First National name to Ryan Kugler of Distribution Video & Audio, a company specializing in acquiring excess inventory and close-out properties. However, the pre-1936 First National library is owned by Turner Entertainment. United States v. Paramount Pictures, Inc. First National Pictures on IMDb Warner Bros.
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