Tags: greta garbo

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Tags: silent film

Linda A. Griffith, wife of D.W. Griffith, in an autobiographical article for the periodical Film Fun Magazine during 1917, not only reminisced of Thomas Ince having spent time at the Biograph Studios, but also of his wife, actress Eleanor Kershaw, having spent her short lived on screen career with the Biograph Film Company. By the time of its publication, Eleanor Kershaw had left silent film acting to devote herself to being the mother of three children.
In a similar way that H.G. Wells depicts idyllic ante-bellum England as being a remote and isolated unsuspecting participant it the sudden outbreak of World War I, perhaps Iris Barry hints that the idea of war was new to modern America "But for the moment the United States was preparing to enter the European war: J.Stuart Blackton's pro-war and anti-German The Battle Cry of Peace and Thomas Ince's anti-war and anti-German Civilization had already indicated the uses to which films might be put and now it was the moment for propaganda for the Allied cause." The propaganda of the time period seemed abruptly more direct, more explicit than yellow journalism and propaganda of American Imperialism in the Phillipines decades earlier. Iris Barry later credits Thomas Ince and D.W. Griffith as having "taught the Scandinavians to use an isolated face or guesture as a unit of expression rather than (as on stage) the actor".
Silent Film Intolerance The Invaders

Tags: “Silent film”

Before his gaving met Greta Garbo, the photography of Clarence Sinclair Bull had been had been published in periodicals under the name Clarence S. Bull. During 1922 Pictur Play Magazine ran his portraits of Helen Chadwick and in 1923 his potraits of Mae Bush and Helen Ballin. His portrait of Collen Moore apeared in Screenland Magazine in 1922. The Motion Picture Director featured his portrait of Kathleen Key during 1926.


Greta Garbo and Mauritz Stiller

Greta Garbo

Silent Film

Greta Garbo Ruth Harriet Louise