洛伊斯·韦伯 Lois Weber

洛伊斯·韦伯
  • 性别:
  • 获奖: 墨索里尼杯 最佳国际电影
  • 星座:双子座
  • 出生地:美国,宾夕法尼亚州,阿勒格尼
  • 职业:导演 / 编剧 / 演员 / 制片人

洛伊斯·韦伯简介

获奖情况

第2届威尼斯电影节 获得墨索里尼杯 最佳国际电影(提名)。获奖影视: 《白热杀机》

影人资料

Lois Weber (June 13, 1879 – November 13, 1939) was an American silent film actress, screenwriter, producer, and director, who is considered "the most important female director the American film industry has known",[1] and "one of the most important and prolific film directors in the era of silent films".[2][3] Film historian Anthony Slide asserts that: "Along with D.W. Griffith, Weber was the American cinema's first genuine auteur, a filmmaker involved in all aspects of production and one who utilized the motion picture to put across her own ideas and philosophies."[4] Weber produced an oeuvre which Jennifer Parchesky argues is comparable to Griffith's in both quantity and quality,[5] and brought to the screen her concerns for humanity and social justice in an estimated 200 to 400 films,[2][6] of which as few as twenty have been preserved,[7][8] and has been credited by IMDb with directing 135 films, writing 114, and acting in 100.[9] Weber was "one of the first directors to come to the attention of the censors in Hollywood's early years".[10] Weber has been credited as pioneering the use of the split screen technique to show simultaneous action in her 1913 film Suspense.[11] In collaboration with her first husband, Phillips Smalley, in 1913 Weber was "one of the first directors to experiment with sound", ****** the first sound films in the United States,[12][13] and was also the first American woman to direct a full-length feature film when she and Smalley directed The Merchant of Venice in 1914,[14] and in 1917 the first woman director to own her own film studio.[15] During the war years, Weber "achieved tremendous success by combining a canny commercial sense with a rare vision of cinema as a moral tool".[16] At her zenith, "few men, before or since, have retained such absolute control over the films they have directed – and certainly no women directors have achieved the all-embracing, powerful status once held by Lois Weber."[17] By 1920, Weber was considered

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