Abstract
One of the first moving images, a Thomas A. Edison Inc. short entitled, The May Irwin Kiss (Thomas A. Edison Inc. 1896),1 illustrates that right from its beginning, cinema had a fascination with romantic affection. At under a minute long, this brief but passionate display was soon adopted by narrative cinema. Early American filmmakers that chose to expand upon May Irwin and James Rice’s show of affection in order to present a passionate love story employed many visual and thematic conventions that would be amplified and adapted to become staples of the Hollywood romantic drama genre.
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Notes
Thomas Schatz. ‘Wartime Stars, Genres, and Production Trends’ in Boom and Bust: The American Cinema in the 1940s, edited by Thomas Schatz, vol. 6, 206. New York: Simon and Schuster Macmillan, 1997.
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Stanley Cavell. Pursuits ofHappiness: The Hollywood Comedy ofRemarriage. Cambridge: Harvard University Press, 1981: 142–145, 153–154, 156, 261.
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See Robert J. Sternberg. Cupid’s Arrow: The Course of Love through Time. New York: Cambridge University Press, 1998: 75; Dowd and Pallotta. ‘The End of Romance’ 552.
Andreas Capellanus. The Art of Courtly Love. Translated by John Jay Parry, 185. New York: Ungar, 1959.
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See, for example, Ralph Dengler. ‘The First Screen Kiss and “The Cry of Censorship”’ Journal of Popular Film and Television 7, no. 3 (1979): 266–272. Dengler suggests that the response to the kiss was varied.
See, for example, Amy Lawrence. ‘Rudolph Valentino: Italian American’ in Idols ofModernity: Movie Stars of the 1920s, edited by Patrice Petro. New Brunswick: Rutgers University Press, 2010: 93.
Emily W. Leider. Dark Lover: The Life and Death ofRudolph Valentino. New York: Faber and Faber, 2003: 162–166.
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Schatz. Hollywood Genres. 95–96. Direct quotation comes from the ”‘General Principles” of the MPPDA’s Production Code’, cited in Schatz. Hollywood Genres. 95.
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See Ramona Curry. ‘Mae West, Film Censorship and the Comedy of Unmarriage’ in Classical Hollywood Comedy, edited by Kristine Brunovska Karnick and Henry Jenkins, 211–237. New York: Routledge, 1995.
See, for example, Karen Lury. The Child in Film: Tears, Fears and Fairy Tales. London: I. B. Tauris, 2010: 59–64.
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Dowd and Pallotta. ‘The End of Romance’ 552. Some passionate love stories use the sacrifice as more of a romantic and noble gesture like Intermezzo: A Love Story.
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See, for example, Alistair Phillips. ‘Boyer, Charles (1899–1978)’ in Journeys of Desire: European Actors in Hollywood, a Critical Companion, edited by Alistair Phillips and Ginette Vincendeau, 186. London: BFI, 2006; Todd. ‘Pepe le Moko, Cinematic Appropriations and the Passionate Love Story’ 83.
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Burnett and Alison. Everybody Comes to Rick’s. For example, in the play, Lois (Ilsa) uses Rick to get exit visas, leading Rick to exclaim ‘You bitch!’ (Everybody Comes to Rick’s, 2.1.17). The Sam character also says to Rick about Lois, ‘Dat woman jos’ breathes trouble’ (2.2.20).
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Gelley highlights this change in view in films like Dr. Jekyll and Mr. Hyde (Victor Fleming: 1941) where Bergman was able to convey ‘sexual sophistication’; Gelley remarks that films such as those of Alfred Hitchcock in which Bergman starred (Spellbound in 1945 and Notorious in 1946) emphasised the sexualisation of her face through close-up shots, as well as of her body in the latter film in particular. Gelley. ‘Ingrid Bergman’s Star Persona’ 31–33. Notably, when Bergman engaged in an affair in her private life with director Roberto Rossillini, her career was damaged due to the deviation from her prescribed star persona. See, for example, Gelley. ‘Ingrid Bergman’s Star Persona’ 26; David W. Smit. ‘Marketing Ingrid Bergman’ Quarterly Review of Film and Video 22, no. 3 (July—September 2005): 237. Gelley. ‘Ingrid Bergman’s Star Persona’ 31–33.
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Pandro S. Berman, quoted in Koppes. ‘Regulating the Screen’ 263. Koppes’ italics.
Hedy Lamarr’s ‘glamorous’ persona is discussed in Tim Bergfelder. ‘Lamarr, Hedy (Hedwig Kiesler) (1913–2000)’ in Journeys of Desire: European Actors in Hollywood, a Critical Companion, edited by Alistair Phillips and Ginette Vincendeau. London: BFI, 2006: 327–328. See also Todd. Pepe le Moko Cinematic Appropriations and the Passionate Love Story’ in Creative Imitations, and Appropriations, 83.
Broken Blossoms, directed by D. W. Griffith (1919; New York: Kino, 2001), DVD.
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See, for example, Matthew Bernstein. ‘Introduction’ in Visions of the East: Orientalism in Film, edited by Matthew Bernstein and Gaylyn Studlar, 1–18. London: I. B. Tauris, 1997.
Colin McArthur. The Casablanca File. London: Half Brick Images, 1992: 9.
See for example, James F. Pontusco, ed. Political Philosophy Comes to Rick’s: Casablanca and American Civic Culture. Lanham, M. D.: Lexington, 2005.
Elaine Hatfield and Susan Sprecher. ‘Measuring Passionate Love in Relationships’ Journal ofAdolescence 9 (1986): 395.
Ruth Perlmutter. ‘Memories, Screens, Dreams’ Quarterly Review of Film and Video 22, no. 2 (April-June 2005): 125.
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Greg Smith. “I Was Misinformed”: Nostalgia and Uncertainty in Casablanca’ in Film Structure and the Emotion System, 164. Cambridge: New York University Press, 2003.
Susannah Radstone. ‘Reconceiving Binaries: The Limits of Memory’ History Workshop Journal 59 (2005): 138.
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© 2014 Erica Todd
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Todd, E. (2014). Passionate Love in Early Hollywood Romantic Dramas. In: Passionate Love and Popular Cinema. Palgrave Macmillan, London. https://doi.org/10.1057/9781137295385_3
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DOI: https://doi.org/10.1057/9781137295385_3
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