By Scott Essman
Jack Pierce: the guy at the back of The Monsters chronicles the occupation exploits of Universal's vintage monster author, Jack Pierce, who was once with the studio in the course of their horror heyday of 1928-1947. After freelancing in Hollywood's earliest days as an actor, stuntman and assistant director, Pierce flourished in make-up within the 1910s and Twenties, first making himself into any number of motion picture extras referred to as for on fledgling studio plenty.
Then, from 1930-1947, Pierce created a few of cinema history's so much distinguishable icons of fright, together with Frankenstein's Monster, the mum, The Bride of Frankenstein, Ygor, The Wolf guy, and The Phantom of the Opera between his many vintage creations. Contained during this certain e-book are designated textual content and images from each major movie of Pierce's profession, spanning the mid-1910s to the mid-1960s.
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Extra resources for Jack Pierce: The Man Behind The Monsters
But while the reformers attempted to construct the men of the future, they emphasized just as forcibly, or even more so, the idea that boys have an inner primitive and natural core that must be allowed to develop. The reasoning is not unlike that which Swedish moralists pursued with alarm when they tried to demonstrate the unwholesome link between crime in popular culture and children, as well as the possible consequences of this connection in adulthood. However, the crucial difference was that the Swedish moralists sought to discipline the inner core.
And Europe, beginning with the French company Le Film d’Art in 1908, began making more “artistic” ﬁlms, based on well-known novels and stage plays. Stage actors, writers and theater directors were also engaged to increase the prestige of ﬁlms. The building of magniﬁcent movie theaters began. The same development took place in Sweden during the 1910s. This has often been considered a way to win the respect of the middle class, but it was primarily a question of money. The ﬁlm 28 Masculinity in the Golden Age of Swedish Cinema industry wished to legitimize its existence.
As the 1920s drew on, Fairbanks began to appear in increasingly large-scale productions. This meant that only one Fairbanks movie was released each year. Naturally, the result was great expectations among his fans, as shown by the enormous attention paid to the premières of his ﬁlms all over the world. Another interesting aspect is that Fairbanks’s leading characters continued to be sons trying to prove their masculinity to their fathers through character-building, athletic escapades. However, the plots were transferred from modern times to the past.