FILM FILM - University of Macau Library

144 Transition and Transformation
25. The Scarlet Letter, Scenario by Frances Marion, Scene 73.
26. Roth-Lindberg, 316.
27. “En glänsande renässans”, Filmjournalen, 2, 1927, 43.
28. Picture Play, November 1926; www.silentsaregolden.com., August 1, 2011.
29. E.g. Forslund, 245; Roth-Lindberg, 316.
30. Richard Koszarski, An Evening’s Entertainment: The Age of the Silent Feature Picture,
1915-1928, History of the American Cinema, Volume 3, Berkeley: University of
California Press, 1990, 293.
31. Petrie, 143.
Conquering Nature – The Wind
1. Dorothy Scarborough, The Wind [1925], Austin: University of Texas Press, 1979.
2. The title of the dissertation was The Supernatural in Modern English Fiction (1917). See
Susan Kollin, “Race, Labor, and the Gothic Western: Dispelling Frontier Myths in
Dorothy Scarborough’s The Wind”, Modern Fiction Studies, vol 46, no3, 2000, 679.
3. Ibid.
4. Petrie, op. cit.
5. Marion, 159.
6. See, for example, Cynthia Littleton, “Thalberg Saw Power in Previews”, Variety, 5
March 2011.
7. Katherine Albert, “A Picture That Was No Picnic”, Motion Picture 3, October 1927.
8. Western Union telegram, May 17, 1927, SF archives. The question of shaving as a
marker visually distinguishing between good and evil was as typical of Hollywood
as of Sweden. See Florin, 2003, 59-60.
9. “Sjöström – Gish – Hanson”, China Filmnytt, October 1928.
10. “Stormen – Texastornados och Körkarl-mystik”, Filmjournalen 10, 1928, 14.
11. “The Wind”, Exceptional Photoplays 6, 4, November 1924.
12. Mordaunt Hall, “Lillian Gish”, The New York Times, 5 November 1928.
13. Forslund, 246–257.
14. Ibid., 111.
15. Ibid., 251; The New York Times, 5 November 1928.
16. Kollin, 685.
17. Ibid., 682 f.
18. Peter Cowie, Le cinéma des pays nordique, Paris: Éd. du Centre Pompidou, 1990, 109.
19. Fullerton, 54.
20. Ibid.
21. Louis Delluc, quoted in Georges Sadoul, Histoire générale du cinema: Le cinéma devient
un art, 1909-1920, Paris: Denoël, 1952, 212 f.
22. Henri Agel, Les grands cinéastes, Paris: Éditions du Cerf, 1959, 43.
23. Florin, 1997, 81-84.
24. Petrie, 150.
25. Ibid.
26. Kollin, 689.
27. Mikhail Iampolski, The Memory of Tiresias, Intertextuality and Film, Berkeley:
University of California Press, 1998, 9.