FILM FILM - University of Macau Library

22 Transition and Transformation
in other words, as an independent device, which does not in this context receive
any clarifying support from any other narrative patterns. In this single changing
of images, through a motion in reverse direction, the whole drama that the film
portrays and which turns the count into a monk and the castle into a monastery,
is concentrated. The reappearance of these transformatory dissolves as well as
other central stylistic devices in the Hollywood films will be further analyzed in
the following chapters.
National or International in Public Debate
Generally, a basic assumption for film historians dealing with the period from
the mid-teens and well into the 1920s seems to have been the existence of a
clear-cut difference between the two production cultures, Sweden and Hollywood.
However, as will be argued in the following, there might be reason to
assume a less rigid distinction between them.
Still, the gradual internationalization of Swedish cinema, not least in the case
of Victor Sjöström, seems to have needed a justification from a national perspective,
which would also equal national to international. An interesting early example
is provided in an article from 1919 by the renowned Swedish art critic,
August Brunius, titled “National cinema”. 11 Here, he draws an unexpected parallel
between Sjöström’s Ingmarssönerna (The Sons of Ingmar) and Hall
Caine, whose novel The Master of Man Sjöström would later bring to the screen
as his first film in Hollywood. In Brunius’ eyes, though, the comparison does
not hold good as Selma Lagerlöf with all her literary prestige had provided the
literary source of the Swedish film. Brunius’ main point, however, is that Sjöström’s
film, as concerns plot and characters, could have fitted into any international
context, which he finds astonishing in a film that to such a degree represents
the goal of the industry during the Swedish “golden age” to create a
Swedish national film style.
The internationalization of Swedish cinema must also be seen in relation to
the overall national film culture, in particular, the repertory of the cinema theatres.
In 1915, Germany still dominated the Swedish market with 93 films imported,
compared to 85 American films. In 1916, however, the balance changed
for good, as 199 American films were imported compared to only 101 German
films; the American part of the market doubled both in itself and in comparison
with its main competitor. 12 There are good reasons to suppose that the described
tendencies to conform Swedish films in accordance with American
norms is closely related to this development, where American cinema quickly
captures the market. But it was not only the United States that dreamed of dom-