Encyclopedia of Early Cinema(Part U) .pdf
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1、 U Umeya Shokichi b. 1873; d. 1934 exhibitor, producer, Japan Born in Nagasaki, Umeya believed strongly in Japans economic and political expansion into Far East and Southeast Asia. Accordingly, he operated several businesses in Malaya and Singapore, including film exhibition. Returning to Japan with
2、 a large stock of film prints, he established his own film company, M.Pathe, in 1906. After the company was merged into Nikkatsu in 1912, Umeya established a new film company, M.Kashii. The film business, however, never became his primary interest. He was more engaged in Asian political movements an
3、d supported Sun Wen in his bid for revolution in China. HIROSHI KOMATSU Universal Film Manufacturing Company Formed through an alliance of independent production companies in June 1912, the Universal Film Manufacturing Company is the oldest of the surviving Hollywood studios. Universals early histor
4、y illustrates many of the changes of the transitional era, including the demise of the Motion Picture Patents Company (MPPC), the rise of studiobased mass production methods, the move westward to Hollywood, and the eventual dominance of multiple-reel/feature films. Universal united several independe
5、nt production companies operating outside of the powerful MPPC, including Independent Motion Picture (IMP), New York Motion Picture (Bison), Powers, Rex, Centaur/Nestor, Crystal and clair American. These outfits came together shortly after the formation of rival Mutual Film Corporation, which had ac
6、quired several film exchanges earlier in the year and had begun to distribute the work of competing independents, among them American, Majestic, Reliance and Thanhouser. A previous alliance of independents, the Motion Picture Distributing and Sales Company, which had opposed the MPPCs distribution a
7、rm, General Film, fell apart earlier in 1912 as the distribution of new multiple-reel films became an increasing problem for the industry. The realignment of independent companies under the banners Entries A-Z 939 of Universal and Mutual also appeared the same year that the federal government filed
8、its antitrust suit against the MPPC, signaling the beginning of Trusts demise. Universals first president was Charles Baumann of the New York Motion Picture Company, but Carl Laemmle of IMP soon took control and stayed at the companys helm until 1936. Initially centered in New York, Universal quickl
9、y began to branch westwards where one of its members, Nestor, had established the first Hollywood-based production facility in 1911. Universal purchased a large ranch property on the outskirts of Los Angeles in 1913 and began constructing vast production facilities there. Universal City, as the stud
10、io was named, opened in 1915, and the company moved its business headquarters west to the site that same year. Designed to consolidate the companys production operations for maximum efficiency and productivity, the facilities included several large, electricallyequipped indoor shooting stages, stand
11、ing outdoor sets, an enormous location backlot, as well as film processing labs and editing rooms. Universal City was so large that it became the only studio with its own municipal designation, complete with post office, telegraph office, voting precinct, and police and fire departments. Under Laemm
12、les leadership, Universal initially resisted both the move toward feature films, favoring instead a “balanced” program of shorts, newsreels, serials and dramas. King Baggot, Mary Fuller, Arline Pretty and Warren Kerrigan, all worked at Universal in the early years, along with serial stars Grace Cuna
13、rd and Francis Ford. Many female directors and screenwriters were employed at Universal at a time when women had unrivaled access to positions of creative control within the industry. Lois Weber, one of the decades top-ranked director/screenwriters, worked at the company alongside Jeanie MacPherson,
14、 Cleo Madison, Ida May Park, and several others. Further reading Edmonds, I.G. (1977) Big U: Universal in the Silent Days, South Brunswick, New Jersey: A.S.Barnes. SHELLEY STAMP Urban, Charles b. 1867; d. 1942 producer, distributor, USA, Britain Urban was born and raised in the German community of C
15、incinnati. He first flourished as a traveling book agent, before settling in Chicago where he ran a stationery store, and where he saw the Edison Kinetoscope exhibited in 1894, and set up his own Kinetoscope parlor early Encyclopedia of early cinema 940 Figure 121 Entrance to Universal City, c. 1915
16、. in 1895. He began touring with a Vitascope projector in 1896, but had his own projector developed, the Bioscope. He was hired by the Edison concessionaries, Maguire migration/ immigration: USA; leisure time and space: USA; monopoly capitalism: USA. Further reading Fogelson, Robert M. (2001) Downto
17、wn, New Haven: Yale University Press. Gomery, Douglas (1992) Shared Pleasures: A History of Movie Presentation in the United States, Madison: University of Wisconsin Press. Levy, John M. (2000) Urban America, New York: Prentice-Hall. Tabb, William K. and Larry Sawers (eds.) (1978) Marxism and the Me
18、tropolis, New York: Oxford University Press. DOUGLAS GOMERY Encyclopedia of early cinema 944 Uruguay The cinema arrived in Montevideo in 1896, with Lumire screenings taking place on July 18, the same day as in Buenos Aires, Argentina. Although still relatively small, Montevideo had an active port an
19、d its population was quite attuned to news from Europe and eager to replicate modern experiences. The Edison Kinetoscope already had been welcomed in April 1895. Throughout 1896, various locales announced screenings, ranging from the Saln Rouge dance hall to the more prestigious Teatro San Felipe, w
20、here moving pictures were shown between acts of traditional zarzuela or light operetta. By November 1896, the city had its first moving picture theater. In 1898, Flix Oliver, a Spanish immigrant, returned from a European trip with a Cinmatographe Lumire and film stock and shot the first Uruguayan fi
21、lm: Una carrera de ciclismo en el Veldromo de Arroyo Seco A Bicycle Race at the Arroyo Seco Velodrome. The following year, he shot Juego de nias y fuente del Prado Girls Game and the Prado Fountain and opened his own moving picture theater in downtown Montevideo. After another trip to Europe, in whi
22、ch he encountered George Mlis trick films, Oliver produced his own trick films and various news event films. Among the trick films was Oliver, Juncal 108 (1900), which promoted his signpainting business. Around the turn of the century, the Casa Lepage in Buenos Aires (an important photographic suppl
23、ies and motion picture pioneer) sent a cameraman, M.Corbicier, to Montevideo to shoot actualits. Corbicier recorded films of historical significance such as the 1904 Civil War and La paz de 1904 The peace of 1904. In 1908 he produced the countrys first newsreel, although he was unable to continue re
24、gular production. Later, in 1909, Lorenzo Adroher visited the Lumire factory in Lyons and purchased seven cameras and a projector with which he established the first Uruguayan production company. Adroher and his brother Juan also opened the Bigrafo Lumire theater, until recently the Cine Independenc
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