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6— Henry B. Walthall

1. Most of Biograph's male actors sank into a post-Griffith obscurity, making it difficult to find information about them. Others, including Bobby Harron and Arthur Johnson, died young, leaving little in the record. [BACK]

2. George Blaisdell, "At the Sign of the Flaming Arcs," The Moving Picture World, January 10, 1914, p. 175. [BACK]

3. Owen, "The Little Colonel," pp. 27, 30. [BACK]

4. Interview with Edwin August, in the Barnett Braverman Research Collection, David W. Griffith Papers, the Museum of Modern Art. [BACK]

5. Blanche Sweet interview, in Rosenberg and Silverstein, eds., The Real Tinsel, p. 197. [BACK]

6. Arvidson, When the Movies Were Young, p. 102. [BACK]

7. Bitzer, His Story, p. 72. [BACK]

8. Blaisdell, "Sign of the Flaming Arcs," p. 175. [BACK]

9. Moving Picture World, September 16, 1911, p. 790. [BACK]

10. "Bennie Chats With the Players," p. 114. [BACK]

11. Cohn, "The Reformation of Wally," p. 31. [BACK]

12. "Letters and Questions Answered by the Spectator," New York Dramatic Mirror, August 16, 1911, p. 21. [BACK]

13. Ibid., June 26, 1911, p. 28. [BACK]

14. Gish, The Movies, Mr. Griffith, and Me, p. 150. [BACK]

15. D. W. Griffith to The Los Angeles Times, quoted in Slide, The Idols of Silence, p. 63. [BACK]

16. Gish, The Movies, Mr. Griffith, and Me, p. 286. [BACK]

17. Myrtle Gebhardt, "The Unknown Quantity," Picture Play, July 1926, in The Scarlet Letter Clipping File, NYPLPA. [BACK]

18. Donnell, "I Remember When," p. 40. [BACK]

19. "Henry B. Walthall: A Gentleman of Hollywood," p. 26. [BACK]

20. Gebhardt, "Unknown Quantity." [BACK]

21. Kalton C. Lahue, Gentlemen to the Rescue: The Heroes of the Silent Screen (New York: Castle Books, 1972), pp. 223-24. [BACK]

22. Joe Franklin, Classics of the Silent Screen: A Pictorial Treasury (Secaucus, N.J.: Citadel, 1959), p. 240. [BACK]

23. Bitzer-DWG Papers. [BACK]

24. Gebhardt, "Unknown Quantity." [BACK]

25. Slide, The Idols of Silence, p. 59. [BACK]

26. Bitzer, in DWG Papers. [BACK]

27. I am aware that the concept of genre remains a vexed one among film scholars, and I am not prepared, in this chapter, to offer a fully elaborated theorization of Biograph genres. Generally, however, the costume melodrama resembles the nonpsychological narrative of external motivation and unmediated causality. As we have seen, the contemporary melodrama ranges along the continuum from psychological to nonpsychological. [BACK]

28. Roland Barthes, "Rhetoric and the Image," in Barthes, Image, Music, Text, p. 53. [BACK]


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