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The Sounds of the Silents in Britain$
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Julie Brown and Annette Davison

Print publication date: 2012

Print ISBN-13: 9780199797615

Published to Oxford Scholarship Online: January 2013

DOI: 10.1093/acprof:oso/9780199797615.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 14 April 2021

The Reception of British Exhibition Practices in Moving Picture World, 1907–1914

The Reception of British Exhibition Practices in Moving Picture World, 1907–1914

(p.144) 8 The Reception of British Exhibition Practices in Moving Picture World, 1907–1914
The Sounds of the Silents in Britain

James Buhler

Oxford University Press

This chapter examines reporting about music’s role in British film exhibition in the North American trade paper Moving Picture World between 1907 and 1914. It not only provides perspective on the way British exhibition was seen from abroad, it also draws attention to the role of the trade papers in formulating and disseminating industry ideology. The chapter shows how Moving Picture World contrasted deficient North American exhibition practices with the development of upscale exhibition standards in Britain, specifically London, from the late 1900s into the 1910s. While commentators tended to denigrate British film production as inferior to the North American product, they tended to promote London’s exhibition practices as superior. From the end of 1909, the other purpose this comparison served was to promote to North America the feasibility of more expensive cinemas that excluded vaudeville, but where music played a significant role.

Keywords:   Moving Picture World, London, Samuel Rothapfel, London Letter, British International Kinematograph Exhibition, W. Stephen Bush

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