{"title":"Bringing Essanay’s “Special Eastern” to Ithaca","authors":"B. Lupack","doi":"10.7591/cornell/9781501748189.003.0004","DOIUrl":"https://doi.org/10.7591/cornell/9781501748189.003.0004","url":null,"abstract":"This chapter describes Ted Wharton's brief stay in Ithaca, wherein he shot Football Days at Cornell (1912), the picture that would prove to be a turning point in his career. Convinced that the town would be an ideal location for a full season of summer shooting, he pressed George K. Spoor, cofounder of Essanay, to allow him to establish a temporary Ithaca studio facility. Spoor agreed to authorize the venture, and in May of 1913, Ted returned to Ithaca with the “Special Eastern,” a complete company of some twenty crew members and photoplayers, including the studio's biggest star, Francis X. Bushman, and his frequent leading lady Beverly Bayne. The Hermit of Lonely Gulch was the first of the pictures the “Special Eastern” would produce that season, and it proved to be an excellent start. Other pictures produced that season include Sunlight, For Old Time's Sake, A Woman Scorned, Tony the Fiddler, and Dear Old Girl. The chapter then considers assistant director Archer MacMackin, who—working under Ted's close supervision—kept himself and the company busy throughout the summer with rehearsals and production. The Toll of the Marshes would be the last picture filmed by Ted's Essanay “Special Eastern.” After the company decided against opening a permanent eastern studio, Ted terminated his contractual association with Essanay and moved to Ithaca to form his own independent production company.","PeriodicalId":345348,"journal":{"name":"Silent Serial Sensations","volume":"11 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":"134088828","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":"Index","authors":"","doi":"10.1515/9781501748202-027","DOIUrl":"https://doi.org/10.1515/9781501748202-027","url":null,"abstract":"","PeriodicalId":345348,"journal":{"name":"Silent Serial Sensations","volume":"177 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":"132944228","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":"Leaving Ithaca","authors":"B. Lupack","doi":"10.7591/cornell/9781501748189.003.0015","DOIUrl":"https://doi.org/10.7591/cornell/9781501748189.003.0015","url":null,"abstract":"This chapter details the financial woes that the Wharton brothers faced. The once-bustling Wharton Studio at Renwick Park was, by 1919, a film studio in name only. With its debt increasing and prospects for new production slowing correspondingly, it was facing an uncertain future. By May of 1919, the brothers' long-standing money troubles had become too big to hide or ignore. To be sure, the Whartons' prospects in the industry looked grim. Yet surprisingly, within just days of the sale of the studio's contents, reports surfaced of a new Wharton film venture: The Crooked Dagger. However, between the problems with Pathé and the loss of the serial's leading man and other actors, Ted Wharton found himself unable to move forward with the production. Consequently, although a number of filmographies list The Crooked Dagger as a completed picture, the serial “never saw the light of day.”","PeriodicalId":345348,"journal":{"name":"Silent Serial Sensations","volume":"117 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":"133031022","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":"Preparing for War","authors":"B. Lupack","doi":"10.7591/cornell/9781501748189.003.0012","DOIUrl":"https://doi.org/10.7591/cornell/9781501748189.003.0012","url":null,"abstract":"This chapter describes Patria (1917), which proved to be the best of the preparedness serials. The Wharton brothers knew that it would take a powerful voice to make Americans feel the urgency of military preparedness, and they found it in Patria Channing. Before undertaking Patria, the brothers, working at an almost unprecedented pace, had produced three serials in two years that featured strong modern heroines. But unlike the adventures of her “serial sisters,” which were intended to entertain rather than to provoke, Patria's story was conceived with a distinctly topical and political aim. Although America had managed to stay out of the conflict that had raged in Europe since 1914, aloofness from affairs abroad was becoming more difficult, and some level of engagement seemed inevitable. American policies of neutrality and attitudes of peaceful idealism began shifting to a more violent war passion; and nowhere was “that transition revealed more patently than in the newly found language of the movies,” with pro-war propaganda “subtly and astutely” being injected even into satires, comedies, dramas, and romances. In particular, serials such as Patria sought to brace the American public for the possibility of entry into the conflict, typically by sensationalizing the threat to American national security.","PeriodicalId":345348,"journal":{"name":"Silent Serial Sensations","volume":"183 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":"115595526","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":"Taking a Parallel Path","authors":"B. Lupack","doi":"10.7591/cornell/9781501748189.003.0003","DOIUrl":"https://doi.org/10.7591/cornell/9781501748189.003.0003","url":null,"abstract":"This chapter discusses how Leo Wharton got into the film industry. Leo's earliest documented stage appearance was in 1893, in the play The Fairies' Well. After a few years of itinerant acting, Leo was able to secure steadier employment at the Hopkins Grand Opera in Saint Louis, where his brother Ted was already performing. As part of Colonel Hopkins's theatrical company, Leo assumed various stage roles in the popular daylong “continuous performance” programs that Hopkins pioneered, which combined live drama and between-the-acts vaudeville. Leo's first known (and first credited) film appearance was in the title role of Lincoln in Abraham Lincoln's Clemency (1910), a photoplay produced by Ted Wharton for Pathé. The role not only garnered good reviews for his sympathetic performance and even for his resemblance to the revered figure whom he was portraying; it also led to an offer as a director for Pathé, the studio for which Ted was then working. There, Leo began directing similar shorts, such as the period historical drama The Rival Brothers' Patriotism (1911). Since early movie audiences seemed especially fond of marital comedies, Leo produced several shorts in 1913 that revolved around wedding-day complications. While these and other short pictures that Leo produced for Pathé were often predictable in their plotting and formulaic in their execution, they were nonetheless popular with audiences and profitable for Pathé. Moreover, they established his reputation in the industry.","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":"130335013","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":"Taming and Reframing Buffalo Bill","authors":"B. Lupack","doi":"10.7591/cornell/9781501748189.003.0005","DOIUrl":"https://doi.org/10.7591/cornell/9781501748189.003.0005","url":null,"abstract":"This chapter studies Ted Wharton's final film for Essanay: a historical epic, originally titled The Indian Wars (1914) and later released under various other titles. That film, one of the first to be made with historical preservation in mind, would reenact some of the major Indian battles. Few other producers were capable of managing such a massive and challenging project. Ted, however, had already demonstrated his ability to recreate a similar large-scale “splendid Historical Pageant.” The Indian Wars promised to be even more spectacular. The film was largely the creation of the legendary William Cody, a colorful and iconic figure known worldwide by his public persona of “Buffalo Bill.” Recognizing the broad impact of film, Cody determined to use the new medium as a vehicle for writing—or, in some cases, rewriting—his own history and shaping his legacy.","PeriodicalId":345348,"journal":{"name":"Silent Serial Sensations","volume":"116 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":"130039016","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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