{"title":"13. Staring into The Eagle’s Eye","authors":"B. Lupack","doi":"10.7591/9781501748202-018","DOIUrl":"https://doi.org/10.7591/9781501748202-018","url":null,"abstract":"","PeriodicalId":345348,"journal":{"name":"Silent Serial Sensations","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127143431","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Asking Beatrice","authors":"B. Lupack","doi":"10.7591/cornell/9781501748189.003.0011","DOIUrl":"https://doi.org/10.7591/cornell/9781501748189.003.0011","url":null,"abstract":"This chapter recounts how, soon after completing The Mysteries of Myra, the Wharton brothers undertook a new production, Beatrice Fairfax (1916). This serial was financed once again by William Randolph Hearst and distributed by his International Film Service through the Pathé Exchange. Originally titled Letters to Beatrice, it capitalized on the recent trend of real-life female reporters, who “became familiar, consistent personalities, much like serial queens” and who sought out “novel and thrilling experiences that extended the experiential sphere of women” by vivifying places and activities that were typically “out of reach to women, restricted by virtue of either their danger or their indelicacy.” The Whartons' serial, which reflected the strong real-life collaboration with newspapers that had made the serial genre so popular, was based on Fairfax's widely read “Advice to the Lovelorn” column syndicated by Hearst. But, in fact, there was no actual Beatrice Fairfax; that was a pseudonym used by Hearst employee Marie Manning.","PeriodicalId":345348,"journal":{"name":"Silent Serial Sensations","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115533828","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Heading West","authors":"B. Lupack","doi":"10.7591/cornell/9781501748189.003.0016","DOIUrl":"https://doi.org/10.7591/cornell/9781501748189.003.0016","url":null,"abstract":"This chapter describes how the once close relationship between the Wharton brothers irreparably broke. In late spring of 1919, after he and Ted parted ways, Leo Wharton left New York and headed west—not to Los Angeles but to Texas, which he hoped would become part of a film community that might rival Hollywood. At San Antonio Motion Pictures, he believed that he would have the opportunity to produce the kinds of feature films that he had long wanted to make. The demise of San Antonio Motion Pictures, however, effectively marked the end of Leo's film career. Ted Wharton, who left Ithaca less than a year after his brother Leo did, also traveled west. But whereas Leo had sought fame and success in Texas, Ted moved to Hollywood, which was rapidly evolving into the film capital of the United States. Almost immediately, Universal—by then well known for its popular westerns—hired him to work on the production of The Moon Riders (1920). Sadly, little more is known about the Whartons' final years. Nevertheless, a close examination of their careers restores Ted and Leo Wharton to the classical narrative of early filmmaking and reveals their profound impact on the early serial picture and their influence on later popular genres.","PeriodicalId":345348,"journal":{"name":"Silent Serial Sensations","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129860387","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Establishing Roots in Renwick Park","authors":"B. Lupack","doi":"10.7591/cornell/9781501748189.003.0009","DOIUrl":"https://doi.org/10.7591/cornell/9781501748189.003.0009","url":null,"abstract":"This chapter looks at the new Wharton Studio facility that the Wharton brothers established at Renwick Park (now Stewart Park), at the southern tip of Cayuga Lake. With its lake frontage, gardens, bandstand, pavilions, open air theater, carousel, miniature steam railroad, and trolley connections, the site seemed ideal for their purposes. Best of all, the new facility would give the brothers the space they sorely needed and the opportunity to expand their operation. Once the renovations at the new Renwick Park studio were almost complete and the filming of the third segment of the Elaine serial was finished, the Whartons began planning their next projects. The most ambitious was Get-Rich-Quick-Wallingford, later released under the title The New Adventures of J. Rufus Wallingford (1915). The fourteen-part serial comedy was based on the “Get-Rich-Quick-Wallingford” stories by popular author George Randolph Chester. It was the success of their serial pictures that then inspired the Whartons to try their hand at something new: the production of a feature film. The chapter then considers the film versions of the plays Hazel Kirke (1916), The City (1916), and The Lottery Man (1916).","PeriodicalId":345348,"journal":{"name":"Silent Serial Sensations","volume":"189 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133523527","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"2. Taking a Parallel Path","authors":"","doi":"10.7591/9781501748202-007","DOIUrl":"https://doi.org/10.7591/9781501748202-007","url":null,"abstract":"","PeriodicalId":345348,"journal":{"name":"Silent Serial Sensations","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133924343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Acknowledgments","authors":"","doi":"10.1515/9781501748202-003","DOIUrl":"https://doi.org/10.1515/9781501748202-003","url":null,"abstract":"","PeriodicalId":345348,"journal":{"name":"Silent Serial Sensations","volume":"267 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121897921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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