Difference between revisions of "Category:Cinema--1910s"

The page: Cinema--1910s, includes (in chronological order) literary works of Cinema, made in the 1910s, or from 1910 to 1919.

• From the Manger to the Cross (1912 Olcott), feature film
• Gli ultimi giorni di Pompei (The Last Days of Pompeii / 1913 Caserini), feature film
• Quo Vadis? (1913 Guazzoni), feature film
• Christus (1916 Antamoro), feature film
• Intolerance (1916 Griffith), feature film

By the 1910s, the cinema industry had overcome its initial technical limitations and was ready to grow as the main form of entertainment of modern times. In 1912 From the Manger to the Cross was the first feature movie of Jesus not to be the result of independently released short films. Visually based on the work of Tissot, it was also one of the first movies ever made on location, in Palestine.

In 1912-13 Enrico Guazzoni astonished the world with his Quo Vadis. It was a technical wonder, lasting two full hours.

Features films were now a reality that could attract thousands of viewers in theaters all around the globe. Silent movies could be quickly released internationally by merely translating the inter-texts. Biblical movies had an audience and were largely produced and distributed, in spite of the initial reservations by religious authorities. Italy and the United States were the frontrunners in the genre. Christus (1916), shot on location in the Middle East, soon followed up the success of From the Manger to the Cross as a sort of Catholic response to its Protestant counterpart.

Movies were now covering the entire spectrum of Jewish and Christian origins, from the hebrew Bible to the life of the early Church. Jesus remained the favorite subject, but other characters got central stage, from Salome to Judith, Esther, and Mary Magdalene.

The evolution of cinema into a global form of entertainment also produced the first attempts at introducing religious subject to a broader audience. Movies like Intolerance (1916) and Redemption (1918) intermingled biblical stories with other historical and contemporary narratives.

@2015 Gabriele Boccaccini, University of Michigan

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