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• W2610733598 abstract "LOIS WEBER IN EARLY HOLLYWOOD Shelley Stamp. Berkeley: U of California P, 2015,374 pp.When her box office smash Hypocrites was released in January 1915, Lois Weber was cited by several in the press as the most prominent director besides D. W. Griffith, and she would soon be considered one of the three greatest minds along with Griffith and Cecil B. De Mille. In later years she would be practically removed from film history, only to be recovered generations later. Shelley Stamp's Lois Weber in Early Hollywood is the most extensive treatment yet on this overlooked filmmaker. Those already familiar with Weber scholarship will immediately recognize Stamp's name because even before this book's publication, Stamp had already established herself as the most prolific Weber scholar, with numerous articles, book chapters, and DVD commentaries devoted to Weber and her films. But with the book-length format, Stamp is able to offer much more breadth and depth than these previous venues have afforded.Weber's career corresponded with the rapid changes in early Hollywood, from her work with Edwin S. Porter at Rex on her first film, A Heroine of'76 (1911), to her only film in the sound era, the B movie White Heat in 1934. In between she worked for Bosworth and Universal, where she was the most respected director on the lot. She left Universal in 1917 to form her own studio, Lois Weber Productions, giving her an autonomy few filmmakers of the time had. By the early 1920s, women were beginning to be pushed out of the industry, and Weber settled for having her films distributed from the minor F. B. Warren Corporation, reflective of the few options available for independent and women filmmakers. It is this period after Weber's decline that historians have largely ignored, but Stamp comprehensively treats her last decade in film. Perhaps Stamp's most important contribution is that she corrects previous misconceptions that Weber was washed up after the collapse of her Lois Weber Productions. Stamp writes extensively of her continued work, critical acclaim, and constant status as the most significant woman filmmaker throughout the 1920s.Stamp also presents Weber as a filmmaker of artistic integrity, one who fought for freedom of expression in cinema, even though the Mutual Supreme Court decision in 1915 did not grant the protection of free speech that the other arts shared. But Weber is probably best known for her cinema of social uplift, her celluloid sermons addressing a number of Progressive Era concerns: capital punishment, contraception, narcotics, temperance, child labor, and equality for women, among many others. As Stamp avers in her discussion of Weber's films made in the late 1910s, [t]hrough this body of work she articulated a vision of activist, engaged ready to assume its place alongside other forms of mass media (91), even if her bourgeois femininity meant her progressive politics were a tad murky at times. Stamp's understanding of the political climate and social milieu of the 1910s and '20s is clearly evident, and her firm grasp of the sociological studies of the period is particularly commendable.Stamp also touches on an aspect little discussed in previous Weber scholarship: that the director became known as a star maker in the press. Though this is seemingly a positive trait, Stamp sees this instead as further indication of the marginalization of women directors in the 1920s because Weber's own talents were minimized, with the director becoming merely a motherly helpmate to would-be starlets (178). Celebrity culture overtook Hollywood, and women became associated primarily with glamour; Weber's artisanal mode of filmmaking was no longer championed. Besides the increased marginalization of women, audiences were less interested in the types of films Weber was known for; the films popular in the Jazz Age were less progressive and sentimental, leaving Weber's perceived sermonizing to be viewed as too moralistic, feminine, and sentimental for Jazz Age audiences, the last descriptor a pejorative term several reviewers would overuse. …" @default.
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• W2610733598 date "2017-07-01" @default.
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• W2610733598 title "Lois Weber in Early Hollywood by Shelley Stamp (review)" @default.
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