FILM FILM - University of Macau Library

148 Transition and Transformation
21. Ibid., Reel 1, Scene 7.
22. Ibid., Reel 5, Scene 3.
23. Ibid., Reel 5, Scene 7.
24. Ibid., Reel 5, Scene 9.
25. Ibid., Reel 5, Scene 6.
26. Sunkissed, Play and Dialog Continuity by Sidney Howard, October 15, 1929, Scene
253.
27. Ibid., Scene 283.
28. Florin, 2003, 67.
29. A comparison could be made to the much later “Europuddings”, resulting from the
fact that the European Union provided central funding for filmmaking, with similar
language problems as a result.
30. Cf. Rossholm, 52.
The Genius and the System – Some Concluding Remarks
1. He Who Gets Slapped is available on Google Video, The Scarlet Letter and The
Wind on YouTube.
2. Hans Pensel, Seastrom and Stiller in Hollywood: Two Swedish Directors in Silent
American Films, 1923-1930, New York: Vantage Press, 1969, 77.
3. Forslund, 261, 267.
4. Bordwell, Staiger and Thompson, 72 f.
5. Cf Örjan Roth-Lindberg in Chaplin, 25th Anniversary Issue, 1984, 66.
6. As Richard Koszarski states: “By then MGM was actively trying to rid itself of
Gish’s contract. In a controversial discussion of MGM’s handling of Greta Garbo
and Gish, Louise Brooks suggests that MGM tried to build up the Swedish actress
(over whom they had more effective control) in an effort to damage Gish’s position
in the industry. Not only was Gish earning a fabulous salary, but she was
excercising the sort of control that the studio preferred to reserve for itself.” He also
notes that she made another “ineffective” feature with MGM, “then signed with
United Artists for $50,000 a picture, a small fraction of her previous salary.”
Koszarski, 293.
7. For example, when Paul Bern had the possibility to comment on Marion’s script to
The Masks of the Devil, or the last minute changes to a happy end in The Wind.
8. Florin, 1999, 259-60.
9. Markurells i Wadköping (Sweden, 1931), and Under the Red Robe (England,
1937).