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"The Love Expert" (six reels) was directed in 1920 by David Kirkland, who appears onscreen in the film with Constance Talmadge and Natalie Talmadge. The photoplay was written by John Emerson and Anita Loos.
Silent Film

Silent Film

Although Walt Whitman and Emily Dickinson may, as writers of Free Verse, be considered the forerunners of Modernism, The Silent Film Era would become known for it exciting new school of poetry Imagism and its margins with poets Robert Frost, Amy Lowell, T.S. Eliot, Carl Sandburg and Ezra Pound, silent films that may have not propagated Dadaism, but did aquaint themselves with Art Deco. Silent Film Silent Film

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Actress Gail Adams played the lead in the six reel film The Heart of a Hero about a Man Without a Country directed in 1916 by Emile Chautard and scripted by Frances Marion. Silent Film

Author Robert Hamilton Ball explains that due to the world being at war, there were no film adaptations of the plays of Shakespeare filmed during 1915 and that those filmed during 1916 were stricly American. This may or may not be a matter of course, but there having had been being no film adaptations of Shakespeare's plays during 1918 as well, Ball sees The Great War as having inhibited them. Actor Frederick B. Warde had previously starred in the film " "Richard III" (Keane, five reels) during 1913. Actress Lorraine Huling starred with him as Cordelia in the film "King Lear" (five reels).
Silent Film director Ernest C. Warde during 1917 directed an adaptation of Goldsmith's The Vicar of Wakefield. The Taming of the Shrew Silent Film

Paul Sloane directed actress Leatrice Joy in the 1926 silent film "Made for Love" (seven reels), the screenplay having been penned by Garret Fort. The periodical Motion Picture News printed its advice for Exploitation Angles to promote the film while screening its first run: "Refer to daily paper stories regarding excavations and discoveries in Egypt, mention King Tut. Stress the colorful epidsode in which tale of long dead lovers is told."
That year Paul Sloane directed actress Leatrice Joy in a second film for producer Cecil B. DeMille titled "Eve's Leaves" (seven reels) Silent Film

Robert M. Baker coscripted the 1916 film "Flirting with Fate" (five reels)with director Christy Cabanne for the Fine Arts Film Company. The periodical Motography during 1916 may have found an early, if not extreme, example of the character centered narrative. "It is all Douglas Fairbanks, but when one considers that he's an actor possessing so much color and dash it is readily understandable that this is nothing against "Flirting with Fate", far from that; it is something in its favor." The periodical The Moving Picture World during 1916 noted,"Superior in many respects to any vehicle Fairbanks has had, 'Flirting with Fate' introduces a comical element of fear which would have enabled the story to stand on its own merits in open competition, whether interpreted by Mr. Fairbanks or not....This greater story breadth is of high value in sustaining interest."
Actress Dorothy Haydel appears with Douglas Fairbanks in the film. Silent Film Douglas Fairbanks

Words and images that tell us what the film was about. Lost Films and Found Magazines

The article on Dartmouth professor Mark Williams was relevant, pertinent and succinct enought to require giving the name of the reporter, Kathy McCormack rather than just mentioning the Associated Press. Not being involved in film preservation itself but devoted to he study of the Photoplay, I have for years been gleaning through extratextural discourse, that which is not part of the codex of the film, to find what might have been contained in film that, for whatever reason, are now lost. When the article on lobby cards went to print, I had already had a blog entry with reproductions of lobby cards belonging to films mostly that were not lost, and being in public domain, were available through copies on my webpages, each copy of an existing film having an appended encouragement for the reader/viewer to become a film detective and find material concerning lost films-Lost Films, Found Magazines. In regard to the movie theater having similar exingencies as a museum, the lobby cards were displayed on easels and meant to be viewed by standing directly in front of them at a short distance, there being an audience reception to extratextural discourse, just as there is a "viewing" of paintings that has been changing during this century. A librarian paraphrsed by McCormack has posted that the purpose of the lobby cards were publicity and exploitation, the theater owner being an "exhibitor", but that, being aimed at the spectator, they disclosed the movie's plot, the technology soon improving to where the mood and atmosphere of the film could be surmised from the photographic images. The librarian quoted by McCormack claims that in additon to data regarding the film-and titles were often changed during production to differ from an earlier advertised title- lobby cards could often include a line of dialouge, if only one precious line of dialouge that would be a key to an entire lost film- lobby cards that were not "title cards" have been referred as "scene cards", Dartmouth College in fact had a collection of television commercials it had lent the Moving Image Rearch Center while McCormack was writing her article. The Moving Image Research Center houses material on Lois Weber and Alice-Guy Blanche. Mark Williams is presently part of he Media Ecology Project at Dartmouth College, which is digitalizing thousands of lobby cards to assist Film Preservation. Keep in mind that there have been a small number of rediscovered films, once presumed to be lost, one example being my writing on the John Barrymore version of Sherlock Holmes, which needed to be updated after the film had been found.
Rudolph Valentino Silent Film Lobby Cards
Mary Pickford Silent Film Lobby Cards
Douglas Fairbanks Silent Film Lobby Cards
D.W. Griffith Silent Film Lobby Cards
Lon Chaney Silent Film Lobby Cards
Benjamin Christensen and Danish Silent Film silent film silent Film Lobby Cards Silent Film Lobby Cards

Silent Film Movie Museum Reel Two Silent Film

Silent Film Movie Museum Reel Three Silent Film Movie Museum Reel Four
Paul Killiam opens his series on "the first quarter century of the movies" with the cinema of attractions and a brief section of "newsreel footage" of Fifth Avenue in New York City. It is mostly a compilation reel from the "Killiam Collection", perhaps selected or presented seemingly at random. The film abruptly cuts to a one reel example of the cinema of narrative integration from D.W. Griffith at Biograph.
Killiam televised silent films from the library of the Museum of Modern Art with his narration to suit then modern audiences while hosting The Paul Killiam Show, among the films featured having been "A Daughter of the Wilderness" (Edison Company, 1913) starring actresses Mary Fuller and Elsie MacLeod. The "Movie Museum" series aired in 1954.
Lost Silent Film

Silent Film Movie Museum Reel One

Silent Film Movie Museum Reel Three Lost Silent Film

Reel Three reintroduces the cinema of attractions with newsreel footage of the coronation of Edward VII followed by the film "Makers and Spenders" produced by the Reliance Motion Picture Company, which operated between 1910-1916 and includes the patriotic "Spanish-American War Bond Drive" from the beginnings of yellow journalism and gunboat diplomacy.
Silent Film Museum Reel One

Silent Film Movie Museum Reel Two Silent Film Lost Silent Film

Reel Four of The Movie Museum begins by reintroducing the cinema of attractions with newsreel footage in Teddy Roosevelt becomes President (1901), an abridged film by D.W. Griffith and Biograph Film and "Her Torpedoed Love" a Mack Sennet film directed by Frank Griffith during 1917.
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