Scott Lord

Urban Gad directed Asta Nielsen in her first film "The Abyss" (Afgrunden, 1910) in Denmark, a film often written about due to her popularity and to a scene contained in it in which she dances erotically. Uli Jung and Martin Lorperdinger, editors of Importing Asta Nielsen, the international filmstar in the making 1910-1914, see the rise of Asta Nielsen as meteoric with her first appearance on screen, "she became a well-known and popular actress in many countries on the continent in the 1910/11 season." The film is described by Casper Tybjerg as her "breakthrough film". Scholar Casper Tybjerg, University of Copenhagen/online instructor, notes that "The Abyss" was promoted as an art film, a drama in two acts. Author Forsyth Hardy, in his volume Scaninavian Film, sees the principal stars that had brought international recognition to the country's cinema as having been Asta Nielsen and Valdamar Psilander, " It was an immediate success and audiences everywhere responded to a sensitive, expressive acting style of scting which contrasted clearly with the grimmacing antics of her contemporaries."
Film historian Marguerite Engberg, in her article, The Erotic Melodrama in Danish Silent FIlm, chronickes the cienam of narrative integration having emerged from the cinema of attractions by discussing the significance of running legnth and the advent of longer narrative films. In 1910, Fotorama had released a Danish Silent Film that was more than a half hour in running legnth, "Den hvide Slavenhandel" (The White Slave Traffic), it being notable that it was shown in one sitting. "The transition to multireels was a very important step in the evolution of film art. For now, with longer films, it became possible to go into details within a single scene." The longer legnth of the film allowed "The Abyss to become a "fully fledged erotic melodrama, the drama which was to become a Danish speciality" with its then sexually explicit dance scene and "long drawn out kisess, a Danish invention in films." Engeby describes erotic melodrama as a love story with a conflict between the ckasses, or economic backgrounds and notes that it often included a love triangle, as did the films "The Abyss", "Den Sorte Drom" (The Black Dream" and "Balletdanserinden" (The Ballet Dancer".
It was also that year that Urban Gad and Asta Nielsen would travel to Germany to film for Duetsche Bioscop. Asta Nielsen appeared on screen under Urban Gad's direction with cinematographer Karl Fruend behind the camera that year in the films "Moth" (Nachtfaler) and "The Strange Bird"" (Der Frerde Volgel). Asta Nielsen would later star with Greta Garbo for G.W. Pabst in "The Joyless Street" and in a silent version of "Hamlet" (1920). Scholar Isak Thorsen, University of Copenhagen, in his paper,Nordisk Film Kompagni and Asta Nielsen, explains that director Urban Gad had signed a contract with Kunst Films Kompagni (Copenhagen Art Film) which allowed his to direct film abroad, with a similar contract for wife Asta Nielsen stipulating that she play as many parts as permissable; Nielsen who had already gained international recognition in regard to transnational cinema. Peter Cowie, in his volume Scandinavian cinema adds, "Marrying Urban Gad in 1912, she widened her range of expression to embrace comedy as well as vampish roles."
Janet Bergstrom, in her paper Asta Nielsen's Early German Films, chronicles Asta Nielsen asking Urban Gad if he would write a film for her. "Afgrunden" not only secured an international audience for her but it heralded the film itself becoming an art form. Bergstrom notes Nielsen having written that she aspired to improve her acting ability by watching herself on the screen.

Although many films from the time period were adaptations of theatrical plays, "The Abyss" has no dialougue intertitles, but rather insert shots containing written letters. Both insert shots of printed material and dialougue intertitles are part of the diegesis of a silent film, whereas expository intertitles that either summarize the action or prepare the audience for it are not part of the film's diegesis, insert shots of letters bringing a more first person authorial camera that provides identification with the character.
Bela Belazs, in his volume Theory of Film discusses Urban Gad's 1918 book on film criticism, "This wise and sound book makes no mention as of yet of the new form-language proper to the new art- at the time Urban Gad knew nothing of this. Hence he dealt chiefly with the specific new subjects suitable for film presentation. According to him, every film should be placed in some specific natural enviornment which must affect the human beings living in it and play apart in directing their lives and destinies. Thus a new personage is added to the dramatis personna of the photographed play: nature itself." Belaz continues aiming at genre theory, that genre is particular, it has exclusivity and allows specific backgrounds where tropes and metaphors can arise, ie. Westerns occur only where cowyboys can be found. The glaring problem is that the description offerred by Belaz, in the historiography of film theory, is precisely that of the description inordinately used to define the Swedish Silent FIlm, to the point where the camera technique of Victor Sjostrom and Mauritz Stiller is delegated secondary to the relation of man to his overwhelming envirnment. And yet Belazs is discussing the writing of Danish filmmaker Urban Gad published at a time when Sjostrom had just finished the film "The Outlaw and his Wife", a stunning, but still early example of Scandinavian Cinema.

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Greta Garbo: Victor Sjostrom as Seastrom- Greta Garbo, Mauritz ...: "The Image Makers see their images emerge out of the story. And then suddenly: darkness."- Per Olov Enquist in Bildmakarna, a ... silent film

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"The Flight into Egypt" appears in The New Testament in the scriptural passage Matthew 2:13-23. silent film Noah's Arc

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b' (There might be some dust on the windows as we are under construction and of course I am not using a camera) Another rainbow. In the distance you can spot the Bunker Hill monument. We no loner have a terrace after ten years, but the room is larger.'

The 1921 Photoplay review of "The Sheik", starring Rudolph Valentino and Agnes Ayers may or may not infact seem cryptic to modern readers, "For the glamor and beauty of the desert, the colorful costumes, the real love story lend themselves to shadows...The whole is more or less a tangible version of 'Pale hands I love, beside the Shalimar, where are you now, who lies beneath thy spell.' But we wonder what the censors will do to to it."
silent film
Rudolph Valentino

Urban Gad directed Asta Nielsen in her first film "The Abyss" (Afgrunden, 1910) in Denmark, a film often written about due to her popularity and to a scene contained in it in which she dances erotically. Uli Jung and Martin Lorperdinger, editors of Importing Asta Nielsen, the international filmstar in the making 1910-1914, see the rise of Asta Nielsen as meteoric with her first appearance on screen, "she became a well-known and popular actress in many countries on the continent in the 1910/11 season." The film is described by Casper Tybjerg as her "breakthrough film". Scholar Casper Tybjerg, University of Copenhagen/online instructor, notes that "The Abyss" was promoted as an art film, a drama in two acts. Author Forsyth Hardy, in his volume Scaninavian Film, sees the principal stars that had brought international recognition to the country's cinema as having been Asta Nielsen and Valdamar Psilander, " It was an immediate success and audiences everywhere responded to a sensitive, expressive acting style of scting which contrasted clearly with the grimmacing antics of her contemporaries."
Film historian Marguerite Engberg, in her article, The Erotic Melodrama in Danish Silent FIlm, chronickes the cienam of narrative integration having emerged from the cinema of attractions by discussing the significance of running legnth and the advent of longer narrative films. In 1910, Fotorama had released a Danish Silent Film that was more than a half hour in running legnth, "Den hvide Slavenhandel" (The White Slave Traffic), it being notable that it was shown in one sitting. "The transition to multireels was a very important step in the evolution of film art. For now, with longer films, it became possible to go into details within a single scene." The longer legnth of the film allowed "The Abyss to become a "fully fledged erotic melodrama, the drama which was to become a Danish speciality" with its then sexually explicit dance scene and "long drawn out kisess, a Danish invention in films." Engeby describes erotic melodrama as a love story with a conflict between the ckasses, or economic backgrounds and notes that it often included a love triangle, as did the films "The Abyss", "Den Sorte Drom" (The Black Dream" and "Balletdanserinden" (The Ballet Dancer".
It was also that year that Urban Gad and Asta Nielsen would travel to Germany to film for Duetsche Bioscop. Asta Nielsen appeared on screen under Urban Gad's direction with cinematographer Karl Fruend behind the camera that year in the films "Moth" (Nachtfaler) and "The Strange Bird"" (Der Frerde Volgel). Asta Nielsen would later star with Greta Garbo for G.W. Pabst in "The Joyless Street" and in a silent version of "Hamlet" (1920). Scholar Isak Thorsen, University of Copenhagen, in his paper,Nordisk Film Kompagni and Asta Nielsen, explains that director Urban Gad had signed a contract with Kunst Films Kompagni (Copenhagen Art Film) which allowed his to direct film abroad, with a similar contract for wife Asta Nielsen stipulating that she play as many parts as permissable; Nielsen who had already gained international recognition in regard to transnational cinema. Peter Cowie, in his volume Scandinavian cinema adds, "Marrying Urban Gad in 1912, she widened her range of expression to embrace comedy as well as vampish roles."
Janet Bergstrom, in her paper Asta Nielsen's Early German Films, chronicles Asta Nielsen asking Urban Gad if he would write a film for her. "Afgrunden" not only secured an international audience for her but it heralded the film itself becoming an art form. Bergstrom notes Nielsen having written that she aspired to improve her acting ability by watching herself on the screen.

Although many films from the time period were adaptations of theatrical plays, "The Abyss" has no dialougue intertitles, but rather insert shots containing written letters. Both insert shots of printed material and dialougue intertitles are part of the diegesis of a silent film, whereas expository intertitles that either summarize the action or prepare the audience for it are not part of the film's diegesis, insert shots of letters bringing a more first person authorial camera that provides identification with the character.
Bela Belazs, in his volume Theory of Film discusses Urban Gad's 1918 book on film criticism, "This wise and sound book makes no mention as of yet of the new form-language proper to the new art- at the time Urban Gad knew nothing of this. Hence he dealt chiefly with the specific new subjects suitable for film presentation. According to him, every film should be placed in some specific natural enviornment which must affect the human beings living in it and play apart in directing their lives and destinies. Thus a new personage is added to the dramatis personna of the photographed play: nature itself." Belaz continues aiming at genre theory, that genre is particular, it has exclusivity and allows specific backgrounds where tropes and metaphors can arise, ie. Westerns occur only where cowyboys can be found. The glaring problem is that the description offerred by Belaz, in the historiography of film theory, is precisely that of the description inordinately used to define the Swedish Silent FIlm, to the point where the camera technique of Victor Sjostrom and Mauritz Stiller is delegated secondary to the relation of man to his overwhelming envirnment. And yet Belazs is discussing the writing of Danish filmmaker Urban Gad published at a time when Sjostrom had just finished the film "The Outlaw and his Wife", a stunning, but still early example of Scandinavian Cinema.

Scott Lord

"The Flight into Egypt" appears in The New Testament in the scriptural passage Matthew 2:13-23.
silent film
Noah's Arc
Shadow of Nazareth

sikent film lost Danish Film Lost Swedish film

silent film silent film Danish Film

Tod Browning during 1925 directed Lon Chaney and Mae Busch in "The Unholy Three" (seven reels). The photoplay was written by Waldemar Young, adapted from the novel by Clarence Aaron Robbins.
Picture Play Magazine of 1925 featured an article entitled The Troubles of an Actress in which Dorothy Manners interviewed actress Mae Busch. "On Stage No. 1 of the Mtero-Goldwyn-Mayer emporium, 'The Unholy Three' unit was winding up the first day's production. The first scenes - that is the first scenes in the studio- are set against the background of a freak museum. Hence the bearded lady, the sword swallower and the midgets. 'The Unholy Three' is a wonderful box office title. It is also a crook opera of amazing plot."
silent film
Tod Browning Lon Chaney and Tod Browning

"The Flight into Egypt" appears in The New Testament in the scriptural passage Matthew 2:13-23.
silent film
Noah's Arc
Shadow of Nazareth

"A Revolution Marriage" pairing actress Betty Nansen and Valdemar Psilander was directed for the Nordisk Films Kompagni and Fotorama by August Blom and photographed by Johan Ankerstjerne.
Danish Silent Film August Blom

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Silent Film

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