Scott Lord

Later in the film the image is reiterated by filming her body horizontally in more complicated set ups, her concupisciescence watched by the camera's technique of varying angle, her each movement, displayed as erotic form, being explored by the shadow perspective of depth as angles rather than object lines converge, the image  of the erotic love object repeated as being successive having qualities and attributes that, as graphic plasticity are comparative rather than multiple object relations within a linear plane, or multiple object representations within an abstract plane or multiple plane.      There is unity to the scene that is organic in that she has been in love with him and that he is not presently in the room, 'unity as an artistic principle of perfect form if teleological as ideal, unity as interrelated beauty within unities of time. Similarly, there is a unity within the shot in that there is a lack of movement other than her body having just then truning, almost pirrouetting to almost find him there, only to be positioned as an embodiment of love, if not  an embodiment  of her love for an older man, love being embodied as aesthetic object desired for at distance, and yet only at distance, the syntagmatic alignment of what has value by being imaginary and or absent is constructed by her subjectivity being aware of what has been left as reference, left as mystery. He is with her as what is known between them, watching her as something transcendental in that he is a non-diegetic character symbolic of the contemplation of beauty, there being an internalization of their having had been being together, her form interrelated with the plotline as the object of fantasy and as fantasizing desire.      "I don't feel the need to impose upon you other than that I feel like listening to you. You had mentioned earlier that you would be there. I needed to talk to you at the time but not about anything specific."      "Whereas?"      "In particular, I'm thinking of looking at you and would like it if everything else could wait."       She thought, pausing longer that it had when they had had the conversation, there being a temporal position within the scene to the voice-over that is contingent upon her movements and those of the camera,  "I was really about to say, 'Intuitively?', next."      As it is still early in the, she is mostly a mystery to the film viewer as a female narrative fantasy, the camera watching her continuously during the length of the shot; then again as to create an ideal conception that every possible angle could be filmed at anytime where the duration would be arbitrary the camera watching her only on the authority of her being fantasy and only as authorial when poisitioned where she as fantasized about can be filmed, any interrelated spatial context has still been momentarily left offscreen. What interpellates an identification with the inscription of her subjective desire is that her nude image is as cinematic spectacle, if and when cinematic spectacle, the erotic appropriated and made increasingly available with structrues of the film that are not only those of aesthetic content, but those of erogenous attraction, the visual dimensions articulated within the film being as a zone of passion, or a zone of love felt intensely enough it can be lived for without passion so as to go beyond it as into devotion. Although the retrospective voice over is kept in the film, it can still only be inferrred as to whether she had seen him earlier or whether he had telephoned her earlier, the being a continuity script that includes both that she had had breakfast with him and that she had often been thinking of when they had been together more than a week before, the retrospective voice over narratives intertwined within the film; its is as voice over addressing the spectator directly, but only as being at a juncture of plot events. In one copy of the continuity script had been several instances of her interior monolouge jotted down in the margins, written in pen, including the quote accompanying this series of shots, "More intriguing than I had first tought.", which in no way appears in the rushes of the film and is out of sequence.      As a protagonist, in so much as the development of the film is centered around her search for vale as poetic prior to religious or moral, she is complete for the viewer as a discursive agency and as the fantasy object of desire in soliloquy- it is only slowly that the film-viewer relation develops into an unfolding of her physically seeking sexual gratification, it is only slowly that the film enters into narrative scenes that contain erotic resolution of plot as immediate climactic experiences, as either concievably orgasmic clitorally, near orgasmic as auto-erotic or while reluctantantly auto-erotic on her part, the reluctant writhing and caress of postponing female onanism on her part as hours collapse into minutes, or as lesbian fantasy, lesbian indulgence, concievably brought to plateau as the nude is cleanesed by the look of the other and the accompanying lesbian subject positioning constructed around any involvement with her or with her and her lover, whether sexual or only romantic and intellectual. There is an instance during one of their conversations later in the narrative where she asks him, "Is it not that ideas can often carrry emotion?" After either he waits to answer or only responds silently by not saying anything, she adds a second question, "Emotion at first thought complete, although fleeting."      Her qualities and attributes are still left to be divulvged within the film's becoming increasingly intimate, if not through the mood of the scene; with spectatorial distance, an aesthetic interest is developed from the need to feel the sensations of objectified pleasure to a deepened attraction to the object mysteriously still ever beautiful. What is to seem suprising in the film to the viewer comparing herself to the protagonist as a speaking or non-speaking subject  through the look while the absent-narrator imparts what is absent and or lacking to her is as of yet only felt by their both being perceptive, by both character and viewer being intuitive, and in being perceptive their being levels of shared erotic fantasy within the layers of being observant.      The narrative-spatial dimensions of the scene consist of adjacent spaces that include those that have not yet been explored as looked at and omnly then having become as her subjectivity in its interplay of address and reception with the omniscient authorial. Her glance an erotic metaphor, inscribed textually  as the glance given by the feminine nude body by there being a heightening interest in how and when her sexual fascination pursues and achieves gratification throughout the erotic core of the narrative, telescoped , if not passively as a combining of the desiring gaze in a thematic substructure with pleasure fantasy and female lonliness into later shot reverse shot, offline reverse angle dialougue scenes, then stanzaiclly foreshadowed into either shots of her telephoning from other than the desk, or into nude, overhead shots of her in the bedroom during multiple angle  scenes, each of those showing her decision to either keep her telephone on the dresser  or bureau or to keep it nearer to the bedside, each instance of the camera cutting to either a nude over head strait on shot of her while on her back, or nude over head over the shoulder shot of her on  her stomach, perhaps orgasming, perhaps during massage, a withheld variation of the reiterated motif, and as further or layered variation, the angles being held from different camera distances, her facial expressions to whisper in nuances of acknowledgement, and or disbelief, centered around lubrication and release, if only the release of fantasy.      Her gaze froms an excess within any interchange of subjectivitities in that she is still the only on screen character, and if it is only an appreciation of her beuaty bu him, it forms an excess as being unseen by him and felt by her as seen while unseen, the subjective transactions of desire the object of a present tense voyeurism. The viewer can only be introduced to subjects by the actress being aware of them and by her making the viewer aware of them, so as to compare her relationship to them as poetic truth, within her eyeline there being a sensibiltiy that while not entirely directing the female viewer to any excess of detail or significance, a a subjective close shot  would, introduces a unity that is narrative in her being presented as visual motif, and as an individual, if not entirely solitary, motif, as an embodiment of her being beuatiful while percieving romantic beauty, an objectification of her having sexual emotion and emotion that can deepen and that after having become exhilerated into nearly more rapid breathing, would only soften, would only then moisten. It being within introspective narrative that each event is transposed, the modality of exposition and exhibition allows an emotional structuring to the scene.      It can be remembered that during the first scene of the film there are only insert shots that can be distinguished as transpiring during the same scene and are non-disruptive to its thematic integrity despite how abruptly the camera cuts back to her crossing the room, it being implicational that she is thinking of the action in the flash forward shots, it yet to have taken place. The film has not yet shown retrospective shots that clearly from their subject and its associations are shots contained within a flashforwarded series of shots but within the diegetic spatial-temporal continuum in fact are to be from before the film's opening sequence, their having been had been being inserted into the flashforwarded series shots, so as to place Winter New Year, Winter New Year, then Summer, then Spring, then Summer, then Winter New Year, then Winter New Year, then Spring and continuing with Spring to Summer. There is a cutback within a flashforward midway through the film.     Inga's Veil, Evening erotic novel, film poem Inga's Veil, Evening page three Inga's Veil, Evening, erotic novel, film poem page four   Inga's Veil, Evening erotic novel, film poem revision copyright         Complimenary Movie   Complimentary Movie

Within the syntax of the film, the camera pans down, not solemly, or dolefully, but very slowly as though reserved, as though it could contruct a way to be seen by her, lavishing its downward plunge upon her stillness waiting for her figure to elegantly, almost thoughtfully, vary its postition and it being to no avail in that if she were to be seen in movement it would not be by a camera she could acknowlege having seen, it now a camera reluctant to release her glance as she remained unaware of its vigilance, it as though paradoxical it being that she was waiting for him, waiting to be seen by him, that she felt watched by him while waiting, that she longed for it, in supplication that she be watched by him, that, with her body, she articulated the desire to be watched by him, the desire of it as an inevitability. Now that she has undressed, the sense of expectation has shifted from the attraction of her becoming nude, no matter how quickly, to a dialouge that rather than only having the possiblility of adding to plotline, in being interior monolouge and retrospective narrative, it now carrying it, the camera not only authorial in its movement, but also in its editing and its editing for narrative effect in that the romantic becomes erotic suspence as the scenes are interwoven thematiclly, as her desire becomes increasingly romantic. Erotic availability has opened as a prefiguration of an enlightenment, as though she were seeking a path to sexual reawakenings only to reaquaint herself with their stirrings. And yet, as speaking subject that conveys both the imaginary and the imagined, her astonishment at her own desire can only be sensed, it belonging to her inner life, it being an astonishement that would only intensify, a a freeing of sexual liscence, a personalization of the ideals of femininity.      On film, her body pivoted again during the shot, slowly and slightly toward the camera. The bottom of the frameline gradually lowers before cutting to its reverse angle to begin the pan over from below her breasts  to below her omphalos, as though it were trying to hover from her bellybutton to the top horizon line of where her pubic hair began without noticebly pushing in to simultaneously zoom or without privoting into a prolonged circular pan, which it then unexpectedly does untill bringing the shot to where it could cut to its original frameline and begin panning down again from below her breasts. Temporally it is a double filming, or reframing, of the same moment while spatially it is the same action from another angle, a duplicate from another vantage point.      Her screen direction as figure in movement, in that she has not yet decided to retrace her steps, has established spatial positions in relation, relations not entirely angular, relations not entirely undecided upon by the speed of action and the theatrical pauses on her part before her beginning to cross the set toward the camera. As there is similarity of metaphor, contiguity of metronomy, the possible absence of her reversing screen direction during the scene brings a right to left continuity, although she soon will be to the left of the screen where it seems likely that she will cross one quarter of the width of the screen to the left.      At that moment, she was thinking of a particular afternoon when she had ran up to him flustered, not lachrymal, but near speachless, and yet to contrast, she was simultaneously remembering an earlier, less excited time when the two had first met, when she may have been looking down at her feet trying to make him notice her legs, the curve of her blue jeans where her hemline would have been, it in comparision having been being a more exhilarating time although she had been coolly at his shoulder, nearing him slowly in calculated motion, there having been something she had wanted to tell him. The voice over retrospective used on screen positions dimension with her nudity, her hurriedly having said, "I don't know what to do. I know that you're going to say, 'I love you.'"      Could it be asked if there was some reason he had not yet either arrived or yet telephoned, or whether she was going to meet him somewhere later, seemingly, but not necessarily, that being not untill breakfast the next morning?      The line of dialouge is used in variation during the second scene of the film during the shot-counter-shot dialougue sequences, her lover referring to the conversation by his saying, "Everytime you ask me to I will." to which she replies, "Hurry." as to intentionally remind him of their having been together.      The camera presently pans up slightly faster than the previous shot for half the distance of the height of the shot, untill the bottom of the frame replaces the horizontal center of the shot. Her thoughts flirt with remembering what he had said on several specific, particular occasions and flirt back and forth between her preference to avoid fantasizing about what they hadn't said to each her, it being casual on her part that she would shrug erotic fantasies off almost as quickly as the came and convince herself that it was more romantic to keep her interaction with him a sentimental, therefore more accurate quickening of memory, and between what she would want to say to him the next time they would see each other, not like he would as though it almost were similar to it being necessary to save a planned shot in a game of pool or billiards and or anticipating his next move after nearly opening with the knight in hope of quickly bringing it back toward the queen, but more in a sense of her know to herself that could be inquired about by him that could create their being together simultaneously, in that he was someone she thought she couldn't know but did. She was as of yet unaware that he rarely still played either, and had almost vowed, if not arbitrarily, not to show her the cradling of a pinball, knowing that he would tire of it after she had seen it and that other things that could now seem more sacred, or more part of his acting out of devotion to her, could belong to the present, and that they were  only similar as experience in being from experience, that there was a seriousness that had been quieted, a need to continue. The knight was near enough to the queen for him to dismiss wanting to play. Whether or not his voice is used in the film, it is in juxtaposition to the camera panning up, but only because she has every desire that it would be, that it is something that later collapses and something that makes her desire that things happen faster, that whatever could be watching her when as nudity increase it speed smoothly, "Including being a sentence with this part of speech, had you said including. I need you."      There is an orientation of space as erotic spontaneity and as erotic aquiescence as the camera waits to accomaodate her each and every movement. The soft flesh of the oval of the inside of her thighs is only hinted at within the shot. The areas lof her body that tare followed by the viewfinder within the frameline are contiguous, as are the spaces through which she moves. There is a mobility of frame from the panning, the specator positioned by the continuity of form to the individual images and spaces not only untill the camera begins tracking during the shot, but later with each difference of angle and distance as it is following her, whether its movemnts are obtrusive or not whether they are imperceptible or not. It holds briefly, almost out of necessity during another abrupt inclusion of a retrospective voice over narrative: within its autonomy, it is almost questioning and yet, in that she has not spoken during the entire scene, the effect of each instance of sound being a break from the silence is different than it will later be when she finally brings it into the development of the scene's plot, whether it is her making a telephone call or her going to the door in her bathrobe to greet him after he has let himself in, if in fact she is not in fact nude in bed, or in the shower when he arrives. In that the voice overs are non-diegetic, they are placed within the editing arbitrarily and have a specific effect aestheticly that is not contingent upon the action of the scene, but rather the director's editing. The sounds used in the film to this point are minimal, objects seperated from her touch by the spaces between her and them.      "It's only a cough drop. I wanted to kiss you and don't like menthol or peppermint."      "A coughdrop?", her tone being that of suprise. "I wouldn't have thought of that. You talked me into it."     YouTube Video

Victor Sjostrom during 1913 directed A Secret Marriage (Ett hemlight giftermal) with Hilda Borgström, A Summer's Tale (En Sommar Saga).

Almost as soon as the golden age Swedish cinema had begun, it had begun adapting the novel to film; the significance of the cinema of attractions would now be in the shot, the placement of the shot within the scene, display relegated to frame compositions.
---------------------------
Paul Welander in 1912 contributed the films The Pace That Kills (Broder och syster) and The Circus Queen (Circusluft). Welander also that year having starred with Ida Nielsen in The Bonds of Marriage (Karleksdrommar) a film made by Frans Lundberg. --------------------
1912 was also the year that Hjalmar Söderberg, often considered the nearest contemporary to Strindberg, published the novel The Most Serious Game (Den allvarsamm leken) and the one act play Aftonstjarnan. The first publication to appear written by Par Lagerkvist, People (Manniskor), a collection of short stories was also printed that year as well.
If this was later remarked upon as being part of a comparision and contrast, Mary Pickford was to write, "As I recall, D. W. Griffith never adhered to a script. Improvisation was frequently the order of the day. Sometimes the camera registered an impromputu piece of off-story action and that too stayed in the film." Lillian Gish in no way contradicts her by writing about how Griffith used the editing room to develop storyline, particularly by adding close ups and shots of objects, "Later, he would make sense of the assorted shots in the cutting room, giving them drama and continuity." These cut-in shots were inserted into the scene to add "depth and dimension to the moment".
During 1912 the first film that would star Mary Miles Minter would appear on the marquee, the one reel The Nurse and Anna Q. Nilsson would make her first film, the one reel Molly Pitcher. Oddly enough, Nilsson's studio, Kalem, had given the title role of The Vampire to Alice Hollister, the two later united on the screen in A Sister's Burden (1915). In addition to the films of Louise Glaum,whom Fred Niblo directed in Sex (1920, seven reels), and Valeska Suratt, another film of that title had starred Olga Petrova, it seeming that quickly " 'vamp' became an all too common noun and in less than a year it was a highly active verb, transitive and intransitive" (Ramsaye). Anna Q. Nilsson would appear in War's Havoc, Under a Flag of Truce and The Soldier Brothers of Suzanna in . Lillian Gish would later play a vamp in Diane of the Follies (1916). Birgitta Steene writes that in the films of Ingmar Bergman, "the vamp is portrayed as the social victim rather than the embodiment of sin." 

 
That year Wilhelm Gluckstedt directed De to brodre and Zigeunerorkestret.

Danish film director Aage Brandt during 1912would direct Vera Brechling in A Death Warning (Dodsvarlet) 

 

Blom that year also for Nordisk Film directed Robert Dinesen in the films Stolen Treaty (Secret Treaty/ Den Magt Trede
and The Black Chancellor (Den Sorte Kansler) with Valdemar Psilander, Ebba Thomsen and Jenny Roelsgaard, The Black Chancellor having been a film in which Danish silent film scriptwriter Christian Schroder appeared on screen as an actor. That year August Blom also directed A High Stake (Hjaerternes Kamp.
Danish Silent Film director Benjamin Christensen gave the screen the film Blind Justice (Haevnansnat, 1915) starred the actress Karen Caspersen. The two films by Christensen were of the only three produced by the Dansk Biograf Compagni.

For Ingmar Bergman,the first notable Swedish film is Ingeborg Holm from 1913. In an interview with Jonas Sima, he describes the directing of Victor Sjostrom, "It is one of the most remarkable films ever made...Often he works on two planes, something being played out in the foreground,but then,through a doorway for instance,one sees something quite different is going on in the background.". Produced by AB Svenska Biograteatern and five reels in legnth, it is also his screenplay from a play by Nils Krook which Sjöström had adapted for the stage in 1907. Like Sarah Bernhardt, Hilda Borgström had came to film. Also in the film are Aron Lindgren and George Gronroos. William Larsson and Carl Barcklind both appear in the film as well. It is almost astounding that under the title Give Us This Day the legnth of the film is listed as having reached seven reels. Einar Lauritzen wrote, "The primitive tableau of the time cannot destroy the genuine feeling for both character and enviornment which Sjöström brought to almost every scene."
Much like it being that the films of Bergman "concern interior journeys: journeys into the soul of the character, or into the souls of two related characters" (John Simon), that Ingeborg Holm was a contemporary drama is particularly a matter for aesthetics, as was the observation that there may have been the photoplay of intimacy, the photoplay of action or the photoplay of splendor. As a side note from the present author, the caption on the cover to the filmed version of The Painted Veil, starring Naomi Watts reads, "Sometimes the greatest journey is the distance between two people." What is beautiful is not only that the images of film consist of our being in a position to them spectatorially, or the look that is entailed within suture, but that behind the close ups of faces there is a character, quite often one in the midst of drama- if the cinema of attractions was followed by a cinema of narrative integration, what concerns aesthetics is that no matter how maudlin or whether or not plot was translated into fantasy, the cinema had begun to develop character more fully, more deeply. Bengt Forslund writes, "I am fairly convinced that it was always the fate of the individual that intrigued Sjöström- not the circumstances that led to it."
Interestingly enough, one of the best explanations of classical narrative construction, narrative form which is often based on there being a casual relationship between events that are connected spatially during the film brought about by its characters, comes from the Swedish director Ingmar Bergman. In his autobiography Images, Ingmar Bergman relates that it was Stina Bergman, then head of the script department, who had asked for him at Svensk Filmindustri. She and her husband Hjalmar Bergman had in fact met with Victor Sjostrom while in the United States, where Stina Bergman had acquired the technique of scriptwriting. "This technique was extremely obvious, almost rigid; the audience must never have the slightest doubt where they were in the story. Nor could there be any doubt about who was who, and the transitions between various points of the story were to be treated with care. High points should be allotted and placed at specific places in the script and culmination had to be saved for the end. Dialougue had to be kept short." Author David Bordwell often approximates this description of continuity in the feature film. Bergman continues in the autobiography to write that many of the remarks that Stina Bergman made at that time were treasured by him and that Hjalmar Bergman was his idol.

Sweden, in 1953, made The Bread of Love (Karlekens brod).
Carl Barklind directed his first film that year, The Suicide Club (De lefvande dodas klubb), photographed by Julius Jaenzon and starring Hilma Barcklind and Nils Arehn. Barcklind had appeared as an actor in the film Den glada ankan in 1907. Paul Welander directed and Axel Briedahl scripted the 1913 film Black Heart and White (Karleken rar). John Bergqvist that year directed the films Amors pilar eller Karlek i Hoga Norden and Lappens brud eller Dramat i vildmarken, both with Birger Lundstedt and Hildi Waernmark as well as the film Truls som mobiliserar, with Otto Sandgren. --------Swedish Silent Film director Paul Welander in 1913 directed A Fallen Star (Hjaltetenoren). -------Arthur Donaldson that year directed Lilly Jacobsson in the film En skargardsflickas roman, which he wrote and in which also appeared as an actor.
------------ While in the United States, Danish Silent Film actress Betty Nansen appeared in the films of producer William Fox. Among them, four were directed by J. Gordon Edwards in 1915: A Woman's Resurrection, The Song of Hate, scripted by Rex Ingram, Should a Mother Tell, also written by Rex Ingram, and Anna Karenina (five reels), scripted by Clara Beranger. ------------------
Mauritz Stiller and Victor Sjöström both had continued to direct in 1914and 1915, the former with His Wife's Past (Hans hustrus forflutuna), The Avenger (Hamnaren) ,which, starring Karen Molander was the first film in which the actress Tyra Dorum had appeared on the screen, Playmates (Lekkamraterna), The Master Thief (Matsertjuven) with Wanda Rothgardt, Gentleman of the Room (Kammarjunkaren) with Clara Pontoppidan.
The latter, Victor Sjostrom, continued directing with The Miracle (Miraklet) with Clara Pontoppidan and Jenny Tschernichin-Larsson, photographed by Henrik Jaenzon. In regard to the film, based on a story by Zola, Bengt Forslund views as the foreground to the film Monastery of Sendomir and Love's Crucible with the caution that Sjöström may not truly have had an affinity with making "cloistered romances" much in the way his making The Divine Woman may have been pedestrian, significantly the author adds, "It is clearly the first time that Sjöström consciously made use of a particular stretch of natural landscape as a background to the drama." Victor Sjöström also that year continued with Landshovdingens dottar, a film adapted by Sjöström from the novels of Marika Stiernstedt, Do Not Judge (Domen icke) starring Hilda Borgström, Children of the Streets (Gatans Barn), photographed by Henrik Jaenzon and starring Stina Berg, Love Stronger than Hate (Karlek Starkare an Hat), starring Emmy Elffors and John Ekman, The Strike (Strejken), in which Sjöström starred with Lilly Jacobsson, It Was in May (Det var i Maj), written by Algot Sandberg and photographed by Henrik Jaenzon, The Price of Betrayal (Judaspengar), starring Stina Berg, Stick to your last, Shoemaker (Skomakare, bliv vid din last), starring Stina Berg and In the Hour of Trial (I provingens stund), in which he starred with Greta Pfeil and Kotti Chave. -----------Recently, the theater in the city of Uppsala where the Swedish Silent Films Domen icke and Bra flicka reder sig sjalv, directed by Victor Sjöström, and the film Stromfagelin directed by Mauritz Stiller, were first shown has been renovated, restoring it to how it first looked when built in 1914. -------
After his having starred in the films of Gunnar Tolnaes, who in 1915 appeared in the films One Out of the Many (En av de manga) with Greta Almroth, Lilly Jacobsson and Lili Bech, and When Artists Love (Nar konstnarer alska), returned to Denmark from Sweden to film Doktor X under the direction of Robert Dinesn.
Danish Silent film director Holger-Madsen often filmed with the cinematographer Marius Clausen. Betty Nansen in 1914 starred in his film For the Sake of A Man (Under Skaebnens Hjul), which, also starring Maja Bjerre-Lind, Christel Holch and Ingeborg Jensen, was among those films he photographed with Clausen. In 1914, Danish silent film director Vilhelm Gluckstadt directed the film Youthful Sin (Ungdomssynd), starring Sigrid Neiiendam.
Swedish Silent Film director Edmond Hansen in 1915 directed the film Revenge (Hamnden ar ljuv), his also having that year directed Edith Erastoff in two films for Svenska Biografteatern, A Hero in Spite of Himself (Hjalte mot sin vilja), which was not only the first film photographed by Swedish cameraman Carl Gustaf Florin but also the first film scripted by Swedish screenwriter Oscar Hemberg, and The First Prize (Hosta vinsten), photographed by Julius Jaenzon. ----------Arvid Endglin wrote and directed the film An Error (En forvillelse), starring Clara Pontoppidan, William Larsson and Egil Eide and directed Patrick's Adventures (Patriks aventyr), starring Alfred Lundberg and Hilda Forsslund, the film having been the first in which she was to appear.


Klercker's assistant director, Gothson having had been being the assistant director to the 1915 film In the King's Uniform (I kronas klader).


Besides the photographers Julius and Henrik Jaenzon, another of Sweden's cameramen was Hugo Edlund who photographed the film His Father's Crime (Hans faders brott, 1915), the director F. Magnussen's first film, it having starred Richard Lund and Thure Holm. Both Edlund and Julius Jaenzon are listed as having been the cinematographer to the films Den Moderna suffragetten and For sin karleks skull. Magnussen in 1916 also directed the films The Hermits Wife (Enslingens hustru), starring Greta Almroth, Her Royal Highness (Hennes kungliga hoghet) ,starring Karin Molander and At the Eleventh Hour (I elfte timmen), also starring Greta Almroth, each filmed by Hugo Edlund.
---------
Directed by Victor Sjostrom and photgraphed by Julius Jaenzon the first of Gustaf Molander's screenplays to become well known was Terje Vigen (1916), from the poem by Henrik Ibsen. The intertitles being from the poem, the structure of a poem would accomodate the structure of a silent film, and yet the film shows that there was beginning to be a grammar to film technique of its own. Scholar Bo Florin in his paper entitled "THe Best Swedish FIlm Ever Made", writes, "While Sjostrom abridges, compresses and rearranges individual scenes, the intertitles are largely true to the wording of the poem." This includes an inversion where on occaision the order of the stanzas have been reversed in order for the film to remain cinematic. --------------
Edison's 1912The Charge of the Light Brigade has a similar use of the lines from the poem as intertitles and there had been an adaptation by the Independent Motion Picture Company of Hiawatha (1909) with Gladys Hulette as well. The 1912 poem Vanteenheittajat, written in Finland by Eino Leino, was to be filmed shortly after its publication by director Kaarle Halme as Summer (Kesa) with Hilma Rantanen. In regard to film preservation, the film Terje Vigen was rediscovered from a German print in 2004 and the translated restored intertitles charmingly read Svenska Biografteatern at the top framed by their owl logo and are in the from of stanzaic quotation, their being expository. The opening sequence is shot beuatifully and shows Victor Sjostrom portraying Terje Vigen as elderly against a background of the ocean at night during a storm in a series of shots during which he is filmed in blue tint and is shown framed by a doorway in adjacent masked shots alternating between over-the-shoulder and strait on shots, our sharing his view of the storm as well as watching his looking out into it. The intertitles then take the form of narrator as the film cuts to a restropective scene shot in a sepia-like red of Sjostrom as a young man aboard a ship to begin the storyline. Tytti Soila writes, "The film also established the term 'literary cinema' in Sweden." When reviewed in the United States, the film was seen as "forcefull despite its occaisional indulgence in too much sentimentality and moralizing." Bengt Forslund writing about the film notes, "the explanation is undoubtedly that the description of Nature plays such a major role. It is really the sea that has the main part, like the mountains in The Outlaw and His Wife and the dust strom in Sjostrom's last major work, The Wind. Appearing in the film with Victor Sjostrom are Bergliot Husberg, Edith Erastoff and August Falck. Molander had written Miller's Dokument (1916), directed by Konrad Tallroth and starring Greta Almroth, before writing for Sjöström. Later, with his film Defiance (Trots, 1952) Molander was to introduce another screenwriter to modern audiences, Vilgot Sjöman (Lek pa regnbagen, Playing on the Rainbow, 1958). The film begins the story of Terje Vigen aboard a ship, the early exterior shots including his climbing the mast. Victor Sjostrom cuts from an extreme longshot to a full shot of Terje Vigen sitting on the mast. His wife in the film is portrayed by Swedish silent film actress Bergliot Husberg the interior shots in which she is shown with are for the main part non-titned. Sjostrom is seen in the foreground of a midshot during a tinted exterior shot and then, during the shot, runs from the camera to the background of the shot, the camera then returning to an exterior midshot of the husband and wife. To reinforce his use of the Scandinavian landscape and the foreground of the shot as a source of compositional depth, the interior scenes are again, contrastingly, non-tinted intercut with shots of Terje Vigen silhouetted in the froeground of the shot in front of the expanse of the night sea, the film tinted blue. During the film, the movement within the composition of the frame is often that of the sea. Act Two beins with Terje Vigen having eluded his pursuers. He is show in the foreground of the shot in his skiff rowing against the background of the sea, spotted in a vignette circled masked shot of his pursuers telescope. Crosses at a graveyard are silhouetted against the ocean's horizon to end Act Two. Act Three begins with the same scene that was used to being the film, Sjostrom as elderly looking toward the ocean at night. He leaves his cottage to kneel on the beach, the waves crashing against the rock. Sjostrom espies a sinking craft admist the pounding surf and boards his skiff to aid in their rescue, the ship tossing in the spray of the ocean. In a later shot, Sjostrom leaves his cottage as Edith Erastoff sails away, the film ending with a shot of the crosses at the graveyard near the ocean.

In addition to The Kiss of Death, in which Sjöström playing a double role and which not only uses retrospective narrative but also includes the use of double exposures -----------------
1916 Victor Sjostrom directed the films Ships that Meet (Skepp som Motas) with Lili Bech and August Warberg, Therese, a melodrama which had included intercutting and retrospective narrative starring Lars Hanson and She Was Victorious (Hon segrade) , in which he starred with Lili Bech and Jenny Tschernichin-Larsson.


Mauritz Stiller directed His Wedding Night (Hans brollopsnatt), The Mine Pilot.
Appearing on the screen as as an actor as well, Edmond Hansen at Svenska Biografteatern during 1916 wrote and directed the film The Consequences of Jealousy (Svartsjukans foljder) with Eric Petschler, Stina Berg and Ellis Elis. He that year directed Love's Wanderings (Karlekens irrfarder), photographed by Carl Florin and starring Nicolay Johannsen and Greta Pfeil as well as Pa detta numera vanliga satt, starring Greta Almroth and Jenny Tschenichin Larsson.

during1916 Geoge af Klercker wrote and directed the film Calle's New Clothes (Calles nya klader), starring Mary Johnson and Tekla Sjoblom, and Calle as a Millionaire(Calle som miljonar), the first film in which actress Helge Kihlberg was to appear. ------------During 1916, Klerker was allowed to film more professionally in a larger studio, on Otterhallan and in Castles, one being at Borshuset. The running time of the films of George af Klercker that year went from those of a half hour duration, to those lasting an hour. One Swedish webpage can be quoted when looking for the use of landscape in Swedish films and the filming of a direct relationship betwee the motifs in nature and those that develope character, "Like Stiller and Sjöström is af Klerker sparse with the custom of closes-up. that he on your height uses that dramatic effective emphasis in an enviornment that total to be dominated of the entire picture format.  ----------- In 1916 F. Magnussen directed Victor Sjostrom, Lili Bech and Lars Hanson in the film The Gold Spider 1916 (Guldspindeln), photographed by Hugo Edlund for Svenska Biografteatern. 1916
Captain Grogg's Wonderful Journey (Kapten Grogg's underbara resa) in 1916 introduced to Swedish audiences a series of films showcasing the animation of director Victor Bergdahl that would continue untill 1922. One of two films directed by Bergdahl that would use animation to narrate circus stories, Cirkus Fjollinski, also appeared that year.
As part of its Women and the Silent Screen series held June 11-13, 2008, the Cinematecket in Stockholm will be screening a the 1916 Danish film The Queen of the Stock Exchange (Die Borsenkonigin), written and directed by Edmund Edel. The film is from the Nederlands Filmmuseum. Paired with the film will be the trailer to the lost film The Sunken (Die Gesunkenen, Rudolf Walther-Fein, 1925) also starring Asta Nielsen, a film in which she costarred with the actress Olga Tschechova. 

In the United States, Lillian Gish during 1916 appeared in the films Sold for Marriage, Flirting with Fate and Pathways of Life. Mary Pickford that year made three films five reels in legnth, The Eternal Grind, The Foundling and Hulda from Holland. That year she also starred in Poor Little Peppina (Sidney Olcott, seven reels) and Less Than Dust (John Emerson, seven reels). silent film actress Corrine Griffith, "The Orchid Lay of the Screen", appeared in the film The Last Man in 1916.
Triangle Film Corporation had been formed in late 1915 to combine the efforts of Thomas Ince, D. W. Griffith and Mack Sennett. Sennett, who began at Biograph as an actor under Griffith had founded Keystone Studios in 1912. Not only was Sennett present at Biograph and Triangle with Griffith, but as a pioneer of silent film his name is alongside Griffith's in his contribution to the development of film technique and the development of a grammar of film, a grammar of scene construction. It may well be that the comedies of Mack Sennett have their origin in, or are a continuation of, the earliest of narrative films that prior to 1907, and prior to Griffith's joining Biograph, had brought together a cinema of attractions with films that depicted action, or the chase film. Just as Swedish silent film directors would use nature and landscape as a visual language, comedy would rely upon the visual in its use of the sight-gag. Among the comedies of 1912 were Love, Speed and Thrills directed by silent film director Mack Sennett and Love, Loot and Crash, also directed by the silent film pioneer Sennett, both films currently in public domain and both presently offered online by the Internet Archive, who were kind enough to write to the present writer and who it is sincerely hoped that in the future they will return again as my reader.
Silent comedian Charlie Chaplin would in 1916 leave Essanay studios, where he had made fourteen films, to film two-reel comedies with the Mutual Company, where he filmed The Immigrant (1917).
---------------
Writing in 1971 that the films of Swedish Silent cinema were those to which "the prescence of mountain and pastoral landscapes gave a dimension of authenticity and elemental persuasiveness", Peter Cowie remarks upon Sjöström's use of bucolic subjects, David Robinson upon Sjöström's depiction of man's relationship to nature. Both find something spiritual or supernatural to the writings of Selma Lagerlöf, as though within the relation to the character's surroundings there is a solitude. Lauritzen noted that there is often the "juxtaposition of man and nature" in early Swedish cinema. Although remarking upon the films of Brunius, Stiller and Sjöström not having had been distributed to large audiences, as were the films of Ernst Lubitsch (Passion) that had starred Pola Negri, author Lewis Jacobs writes, "Opposed to the artificiality of the German films in their stress on the real world of nature, the sea and the landscape, Swedish pictures were impressive for their simplicity, realism, sensitive acting and sincerity." Starring the actress Karin Molander when reviewed in the United States, the film was commended for its "unity of plot structure" and for "all its dramatic elements (being) dramatically related, its development (being) climactic and consitent.". Also in the film are Greta Almroth, Concordia Selander and Hilda Castegren in her first appearance on screen. The novel was in fact filmed again in 1947 by Gustaf Edgren and in 1958 by Gustav Ucicky with Maria Emo. Peter Cowie has put the films of Finnish director Ruani Mollberg (Earth is a Sinful Song, Maa on syntinen laula, 1973) alongside the films of Victor Sjostrom and Mauritz Stiller, his writing, "His characters move not against the backdrop of field and lake and forest, but deep within the enveloping topography."
Charles Magnusson in 1909 had hoped to film the novel The Wonderful Journey of Nils Holgersson, which Victor Sjostrom had read with enthusiasm.

Frances Marion that year also wrote the photoplay to the film Temple of Dusk (James Young, five reels), her following it in 1919 with the scenarios to A Regular Girl (James Young, five reels), The World and its Woman (Frank Lloyd, seven reels) and The Cinema Murder (George Baker, five reels). ---------Lillian Gish in 1917 had starred in the films The House Built Upon Sand (Ed Morrisey, five reels) with Kate Bruce and Souls Triumphant (John G. O'Brien, five reels) with Wilfred Lucas.
----------- George af Klercker directed and starred with Gerda Thome-Mattsson and Tollie Zellmann in For hem och hard, Swedish director Georg af Klercker. ---------- Konrad Tollroth in 1917 directed and starred with Lili Bech in The Bird of Paradise (Paradisfageln), directed and starred with Lisa Hakansson-Taube in Sig egen slav. That year he also directed Edith Erastoff in the film Chanson triste and Karin Molander in the film Vem skot?. -----------------Egil Eide both directed and starred with Edith Erastoff in the films Every Man Forges his own Happiness (Envar sin egen lyckas smed) and Mrs. Bonnet's Slip (Fru Bonnets felsteg), which also starred Karen Molander. ----------F. Magnussen that year wrote and directed the films Jungeldrottingens smyke, photographed by Henrik Jaenzon and starring William Larsson, Den levande mumien, photographed by Hugo Edlund and starring William Larsson and The Secret of the Inn (Vardshusets hemlighet), starring Edith Erastoff.
1917 was to mark the first publication written by the Swedish author Swedish author Agnes von Krusenstjerna, the volume Nina's Dagbook.


----------------------------------------------------:--------::----- Silent Film Silent Film Sjostrom Silent Film swedish Silent Film Photos and or links may be removed or replaced due to design considerations. Please write if you have any html codes you think I should try or copyright questions. Streaming videos, including those digital prints copyrighted, are for the main part thought public domain unless otherwise noted; posters should be identified through their link. If you are waiting for a letter from the present author, please send a second letter if necessary. It should be noted that multiply.com will reproduce webpages directly and that the source webpages should be viewed to complete knowledge on the beauty and excitement of any silent film or Swedish film. Since the principal photography on Swedish Film director Ingmar bergman's last film, new filmographies have appeared, including one made avaible that is superior and can be downloaded if needed;