Abstract
Playwright and screenwriter Edward Knoblock’s quote about wanting to get away from California after a spell in the film community appears to match much of the British reaction to Hollywood in the formative years of film. What drove Knoblock to the Sussex seaside town after the exposure of Los Angeles is not entirely clear, but the impulse to retreat to a world of quintessential Englishness has often appeared to be the raison d’être for many British writers and directors of the era who were quickly appalled by the brash commercialism of the Hollywood film industry. In Knoblock’s case, it was an even more fascinating compunction that took hold of him because he was American born (originally Edward Knoblauch of German parents in New York in 1874), but ended up residing in Britain for much of his life. Indeed in 1916, he became a British subject, choosing to significantly reject his German ancestry at the height of World War One in favour of the Sussex countryside.
“I went to Worthing to recover from Hollywood.”
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Notes
“English ‘Conquest’ of U.S.A.” The Film Weekly, 14 October 1929, p. 5.
Paula Marantz Cohen, Silent Film and the Triumph of the American Myth (Oxford: Oxford University Press, 2001), p. 157.
Thomas Schatz, The Genius of the System: Hollywood Filmmaking in the Studio Era (London: Faber and Faber, 1998), p. 6.
Ibid.
Ibid., p. 12.
Tom Milne, “Show People” in; Sight and Sound, Vol. 37, No. 4 (Autumn, 1968), p. 200.
Ibid., p. 201.
Kevin Brownlow, Hollywood: The Pioneers (London: Book Club Associates, 1979), p. 9.
Larry Langman, Destination Hollywood: The Influence of Europeans on Hollywood Filmmaking (London: McFarland, 2000), p. 125.
Anthony Slide, Early American Cinema (London: Scarecrow, 1994), p. 71.
Ibid., p. 25.
Marc Norman, What Happens Next: A History of American Screenwriting (London: Aurum, 2008), p. 43.
George Geltzer, “The Complete Career of Reginald Barker” in; Griffithiana, n32/33 (1 September 1988), p. 245.
Charles Higham, The Art of the American Film (New York: Doubleday, 1974), p. 37.
Ibid., p. 38.
Lewis Jacobs, “Writers and Photographers” in; The Rise of the American Film (New York: Harcourt Brace, 1939), reproduced in; Richard Dyer, MacCann Films of the 1920s (London: Scarecrow, 1996), p. 15.
Markku Salmi, “Brief Biography of Charles Brabin” in; Film Dope, No. 4 (March, 1974), pp. 40–1.
Matthew Kennedy, Edmund Goulding’s Dark Victory: Hollywood’s Genius Bad Boy (Madison: University of Wisconsin Press, 2004), p. 59.
John Baxter, The Hollywood Exiles (London: Macdonald and Jane’s, 1976), pp. 111–12.
Michael Walker, “Biographical Appreciation of Edmund Goulding” in; Film Dope, No. 20 (1980), pp. 32–4.
C.A. Jejeune, “‘The Dawn Patrol’ — and a Tail-Piece”, The Observer (19 February 1939). Clipping in the Dawn Patrol File at the Margaret Herrick Library of the Motion Picture Academy, Los Angeles.
Gene Vazzana, “Tol’able David Review” in; Silent Film Newsletter, Vol. II, No. 10 (December, 1994), p. 168.
Ethan Mordden, The Hollywood Studios (New York: Fireside, 1989), p. 108.
“The Divine Lady Review” in; The Film Spectator, Vol.7, No.6 (23 February 1929), pp. 5–6.
Anthony Slide, “The Regulars” in; Films in Review, Vol. XXIX, No. 4 (April 1978), p. 225.
Ibid., pp. 225–6.
Morley, A Talent to Amuse: A Biography of Noël Coward (London: Pavilion, 1986), p. 151.
Cole Lesley, The Life of Noël Coward (London: Penguin, 1988), p. 170.
Paul Tabori, Alexander Korda (London: Osbourne, 1959), p. 83.
Ibid., pp. 104–5.
Ibid., p. 107.
Karol Kulik, Alexander Korda (New Rochelle NY: Arlington, 1975), p. 57.
Ibid.
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© 2010 Ian Scott
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Scott, I. (2010). Early Invaders: The First British Wave. In: From Pinewood to Hollywood. Palgrave Macmillan, London. https://doi.org/10.1057/9780230289734_3
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