Child Actress Virginia Lee Autograph Photo Vintage Signed Fantastic! 1920'S

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Seller: memorabilia111 ✉️ (807) 100%, Location: Ann Arbor, Michigan, US, Ships to: US & many other countries, Item: 176270374060 CHILD ACTRESS VIRGINIA LEE AUTOGRAPH PHOTO VINTAGE SIGNED FANTASTIC! 1920'S. VIRGINIA LEE SILENT SCREEN CHILD ACTRESS SIGNED 8X10 PHTOO FROM 1920'S WHEN SHE WAS A TEENAGER Virginia Lee was an American film actress of the silent era.


Virginia Lee was born on July 14th, 1901, in Mexico City, Mexico, and spent her early years growing up with an Spanish-speaking nurse as her nanny. She was a descendant of Robert E. Lee and in later life proudly claimed ownership of the cabinet in which the Confederate General had kept some of his uniforms. Virginia’s family relocated to Canada when she was eight years old and there she added French to the Spanish she had learned in Mexico. A beautiful young girl, Miss Lee began modeling for artists when she was eleven and eventually went on to pose for famed artist Howard Chandler Christy. Ambitious and admittedly opportunistic, Miss Lee quickly moved from modeling to minor movie roles to starring in feature films. Always candid and direct in speech, the actress once proudly told a reporter that her rapid success was based solely on her talent and beauty and “without ever going to bed with any man.” In 1917, Miss Lee appeared in the first experimental Technicolor film, Thevirginia lee photo Gulf Between, made in Jacksonville, Florida. Though the film had considerable technical problems and was not a great box office success, the young beauty—5 ’4” and 120 pounds with golden hair and blue eyes—was quite happy with the results. “I photographed like a million bucks in color,” was her assessment.  While this film was in release, Miss Lee was hired by the Betzwood Film Company to appear opposite Louis Bennison in the first two films he made at the Betzwood studios, Oh! Johnny! and Sandy Burke of the U-Bar-U.  She celebrated her seventeenth birthday at the Betzwood studio in the summer of 1918. Bennison and Lee enjoyed good chemistry together both onscreen and off; Virginia Lee admired Louis Bennison and appreciated the kindness with which he treated her. In September 1921, Virginia Lee participated in the very first Miss America contest in Atlantic City, as the representative of the state of New York. Because she was already a professional actress, and not an “amateur beauty,” she was placed in a special “professional” category. She won the category, was awarded the Endicott Trophy and became first runner-up to the girl who won Miss America. Many years later Lee would claim that she had actually been chosen as the first Miss America, but that the title had been taken from her because a wealthy and influential citizen of Atlantic City had promised it to his girlfriend. Miss Lee continued to make films in the 1920s, appearing in a dozen more silent films.  However, she also got married—to a young navy ensign named William Boyer she had met while working in the New York area—and decided to retire from the movies. “I had been in films for years; I was successful and had done everything I had set out to do. Now I wanted to be a wife and mother. I wanted to do it the right way,” she recalled in a 1993 interview conducted by Michael G. Fitzgerald and Boyd Magers and published in Classic Images (1994). Bill and Virginia Boyer had two children, and even though the former actress was coaxed back to make a few more film appearances, she preferred to focus her energies on her husband and family. Her last credited movie role was in one of the last silent films, The Adorable Cheat, in 1928. Virginia Lee Boyer died on January 14, 1996, in Englewood, Florida, at the age of 94. Virginia Lee (1901–1996) was an American film actress of the silent era.[1] Contents 1 Selected filmography 2 References 3 Bibliography 4 External links Selected filmography The Terror (1917) The Gulf Between (1917) Beyond the Law (1918) The Whirlpool (1918) Oh, Johnny! (1918) Luck and Pluck (1919) Sandy Burke of the U-Bar-U (1919) The Servant Question (1920) A Daughter of Two Worlds (1920) The Fortune Teller (1920) For Love or Money (1920) Scrambled Wives (1921) If Women Only Knew (1921) The White Masks (1921) Beyond the Rainbow (1922) Destiny's Isle (1922) If Winter Comes (1923) The Adorable Cheat (1928) Fatal Lady (1936) A silent film is a film with no synchronized recorded sound (and in particular, no audible dialogue). Though silent films convey narrative and emotion visually, various plot elements (such as a setting or era) or key lines of dialogue may, when necessary, be conveyed by the use of title cards. The term "silent film" is something of a misnomer, as these films were almost always accompanied by live sounds. During the silent era that existed from the mid-1890s to the late 1920s, a pianist, theater organist—or even, in large cities, a small orchestra—would often play music to accompany the films. Pianists and organists would play either from sheet music, or improvisation. Sometimes a person would even narrate the intertitle cards for the audience. Though at the time the technology to synchronize sound with the film did not exist, music was seen as an essential part of the viewing experience. The term is also frequently used to describe sound-era films that have a recorded music-only soundtrack without dialogue, such as City Lights and The Artist. The term silent film is a retronym—a term created to retroactively distinguish something from later developments. Early sound films, starting with The Jazz Singer in 1927, were variously referred to as the "talkies", "sound films", or "talking pictures". The idea of combining motion pictures with recorded sound is nearly as old as film itself, but because of the technical challenges involved, the introduction of synchronized dialogue became practical only in the late 1920s with the perfection of the Audion amplifier tube and the advent of the Vitaphone system.[1] Within a decade, the widespread production of silent films for popular entertainment had ceased, and the industry had moved fully into the sound era, in which movies were accompanied by synchronized sound recordings of spoken dialogue, music and sound effects. Most early motion pictures are considered lost because the nitrate film used in that era was extremely unstable and flammable. Additionally, many films were deliberately destroyed because they had negligible continuing financial value in this era. It has often been claimed that around 75 percent of silent films produced in the US have been lost, though these estimates may be inaccurate due to a lack of numerical data.[2] Contents 1 Elements and beginnings (1833–1894) 2 Silent film era 2.1 Intertitles 2.2 Live music and other sound accompaniment 2.3 Score restorations from 1980 to the present 2.4 Acting techniques 2.5 Projection speed 2.6 Tinting 3 Early studios 4 Top-grossing silent films in the United States 5 During the sound era 5.1 Transition 5.2 Later homages 6 Preservation and lost films 6.1 Dawson Film Find 7 See also 8 References 8.1 Footnotes 8.2 Bibliography 9 Further reading 10 External links Elements and beginnings (1833–1894) Main article: Precursors of film Main article: History of film technology The Horse in Motion, animated from a plate by Eadweard Muybridge, made with an array of cameras set up along a racetrack Roundhay Garden Scene, which has a running time of just over two seconds, was filmed in 1888. It is believed to be the world's earliest surviving motion-picture film. The elderly lady in black is Sarah Whitley, the mother-in-law of filmmaker Louis Le Prince; she died ten days after this scene was filmed. Film projection mostly evolved from magic lantern shows, which utilized a glass lens, and a persistent light source (such as a powerful lantern) to project images from glass slides onto a wall. These slides were originally hand-painted, but, after the advent of photography in the 19th century, still photographs were sometimes used. The invention of a practical photography apparatus preceded cinema by about fifty years.[3] In 1833, Joseph Plateau introduced the principle of stroboscopic animation with his Fantascope (better known as the phenakistiscope). Six years later, Louis Daguerre introduced the first successful photographic system. Initially, the chemicals were not light-sensitive enough to properly capture moving subjects at all. Plateau suggested an early method to animate stereoscopic photographs in 1849, with a stop motion technique. Jules Duboscq produced a simplified device in 1852, but it was not very successful. Early successes in instantaneous photography in the late 1850s inspired new hope to develop animated (stereo)photography systems, but in the next two decades the few attempts once again used stop-motion techniques. In 1878, Eadweard Muybridge used a row of a dozen cameras to record a running horse (as suggested by others much earlier) and surprised the world with the results, published as The Horse in Motion cabinet cards with rows of small still pictures. Many others started to work with chronophotography and tried to animate and project the results. Ottomar Anschutz had much success with his Electrotachyscope since 1887, with very clear animated photographic images displayed on a small milk-glass screen or inside coin-slot viewers, until he started projecting the images on a large screen in 1894. His recordings only lasted a few seconds, and inspired the Edison Company to compete with films that could last circa 20 seconds in their Kinetoscope peep-box movie viewers from 1893 onward. Silent film era File:Battle of Chemulpo Bay edison.ogv PLAY: A one-minute 1904 film by Edison Studios re-enacting the Battle of Chemulpo Bay, which occurred on 9 February that year off the coast of present-day Incheon, Korea. The work of Muybridge, Marey, and Le Prince laid the foundation for future development of motion picture cameras, projectors and transparent celluloid film, which lead to the development of cinema as we know it today. American inventor George Eastman, who had first manufactured photographic dry plates in 1878, made headway on a stable type of celluloid film in 1888. The art of motion pictures grew into full maturity in the "silent era" (1894 in film – 1929 in film). The height of the silent era (from the early 1910s in film to the late 1920s) was a particularly fruitful period, full of artistic innovation. The film movements of Classical Hollywood as well as French Impressionism, German Expressionism, and Soviet Montage began in this period. Silent filmmakers pioneered the art form to the extent that virtually every style and genre of film-making of the 20th and 21st centuries has its artistic roots in the silent era. The silent era was also a pioneering one from a technical point of view. Three-point lighting, the close-up, long shot, panning, and continuity editing all became prevalent long before silent films were replaced by "talking pictures" or "talkies" in the late 1920s. Some scholars claim that the artistic quality of cinema decreased for several years, during the early 1930s, until film directors, actors, and production staff adapted fully to the new "talkies" around the mid 1930s.[4] The visual quality of silent movies—especially those produced in the 1920s—was often high, but there remains a widely held misconception that these films were primitive, or are barely watchable by modern standards.[5] This misconception comes from the general public's unfamiliarity with the medium, as well as from carelessness on the part of the industry. Most silent films are poorly preserved, leading to their deterioration, and well-preserved films are often played back at the wrong speed or suffer from censorship cuts and missing frames and scenes, giving the appearance of poor editing.[6][7] Many silent films exist only in second- or third-generation copies, often made from already damaged and neglected film stock.[4] Another widely held misconception is that silent films lacked color. In fact, color was far more prevalent in silent films than in the first few decades of sound films. By the early 1920s, 80 per cent of movies could be seen in some sort of color, usually in the form of film tinting or toning or even hand coloring, but also with fairly natural two-color processes such as Kinemacolor and Technicolor.[8] Traditional colorization processes ceased with the adoption of sound-on-film technology. Traditional film colorization, all of which involved the use of dyes in some form, interfered with the high resolution required for built-in recorded sound, and were therefore abandoned. The innovative three-strip technicolor process introduced in the mid-30s was costly and fraught with limitations, and color would not have the same prevalence in film as it did in the silents for nearly four decades. Intertitles The Cabinet of Dr. Caligari (1920) used stylized intertitles. As motion pictures gradually increased in running time, a replacement was needed for the in-house interpreter who would explain parts of the film to the audience. Because silent films had no synchronized sound for dialogue, onscreen intertitles were used to narrate story points, present key dialogue and sometimes even comment on the action for the audience. The title writer became a key professional in silent film and was often separate from the scenario writer who created the story. Intertitles (or titles as they were generally called at the time) "often were graphic elements themselves, featuring illustrations or abstract decorations that commented on the action".[9][10][citation needed] Live music and other sound accompaniment Showings of silent films almost always featured live music starting with the first public projection of movies by the Lumière brothers on December 28, 1895, in Paris. This was furthered in 1896 by the first motion-picture exhibition in the United States at Koster and Bial's Music Hall in New York City. At this event, Edison set the precedent that all exhibitions should be accompanied by an orchestra.[11] From the beginning, music was recognized as essential, contributing atmosphere, and giving the audience vital emotional cues. (Musicians sometimes played on film sets during shooting for similar reasons.) However, depending on the size of the exhibition site, musical accompaniment could drastically change in scale.[3] Small town and neighborhood movie theatres usually had a pianist. Beginning in the mid-1910s, large city theaters tended to have organists or ensembles of musicians. Massive theater organs, which were designed to fill a gap between a simple piano soloist and a larger orchestra, had a wide range of special effects. Theatrical organs such as the famous "Mighty Wurlitzer" could simulate some orchestral sounds along with a number of percussion effects such as bass drums and cymbals, and sound effects ranging from "train and boat whistles [to] car horns and bird whistles; ... some could even simulate pistol shots, ringing phones, the sound of surf, horses' hooves, smashing pottery, [and] thunder and rain".[12] Musical scores for early silent films were either improvised or compiled of classical or theatrical repertory music. Once full features became commonplace, however, music was compiled from photoplay music by the pianist, organist, orchestra conductor or the movie studio itself, which included a cue sheet with the film. These sheets were often lengthy, with detailed notes about effects and moods to watch for. Starting with the mostly original score composed by Joseph Carl Breil for D. W. Griffith's groundbreaking, but racially devastating epic The Birth of a Nation (1915), it became relatively common for the biggest-budgeted films to arrive at the exhibiting theater with original, specially composed scores.[13] However, the first designated full-blown scores had in fact been composed in 1908, by Camille Saint-Saëns for The Assassination of the Duke of Guise,[14] and by Mikhail Ippolitov-Ivanov for Stenka Razin. When organists or pianists used sheet music, they still might add improvisational flourishes to heighten the drama on screen. Even when special effects were not indicated in the score, if an organist was playing a theater organ capable of an unusual sound effect such as "galloping horses", it would be used during scenes of dramatic horseback chases. At the height of the silent era, movies were the single largest source of employment for instrumental musicians, at least in the United States. However, the introduction of talkies, coupled with the roughly simultaneous onset of the Great Depression, was devastating to many musicians. A number of countries devised other ways of bringing sound to silent films. The early cinema of Brazil, for example, featured fitas cantatas (singing films), filmed operettas with singers performing behind the screen.[15] In Japan, films had not only live music but also the benshi, a live narrator who provided commentary and character voices. The benshi became a central element in Japanese film, as well as providing translation for foreign (mostly American) movies.[16] The popularity of the benshi was one reason why silent films persisted well into the 1930s in Japan. Score restorations from 1980 to the present Few film scores survive intact from the silent period, and musicologists are still confronted by questions when they attempt to precisely reconstruct those that remain. Scores used in current reissues or screenings of silent films may be complete reconstructions of compositions, newly composed for the occasion, assembled from already existing music libraries, or improvised on the spot in the manner of the silent-era theater musician. Interest in the scoring of silent films fell somewhat out of fashion during the 1960s and 1970s. There was a belief in many college film programs and repertory cinemas that audiences should experience silent film as a pure visual medium, undistracted by music. This belief may have been encouraged by the poor quality of the music tracks found on many silent film reprints of the time. Since around 1980, there has been a revival of interest in presenting silent films with quality musical scores (either reworkings of period scores or cue sheets, or the composition of appropriate original scores). An early effort of this kind was Kevin Brownlow's 1980 restoration of Abel Gance's Napoléon (1927), featuring a score by Carl Davis. A slightly re-edited and sped-up version of Brownlow's restoration was later distributed in the United States by Francis Ford Coppola, with a live orchestral score composed by his father Carmine Coppola. In 1984, an edited restoration of Metropolis (1927) was released with a new rock music score by producer-composer Giorgio Moroder. Although the contemporary score, which included pop songs by Freddie Mercury, Pat Benatar, and Jon Anderson of Yes, was controversial, the door had been opened for a new approach to the presentation of classic silent films. Today, a large number of soloists, music ensembles, and orchestras perform traditional and contemporary scores for silent films internationally.[17] The legendary theater organist Gaylord Carter continued to perform and record his original silent film scores until shortly before his death in 2000; some of those scores are available on DVD reissues. Other purveyors of the traditional approach include organists such as Dennis James and pianists such as Neil Brand, Günter Buchwald, Philip C. Carli, Ben Model, and William P. Perry. Other contemporary pianists, such as Stephen Horne and Gabriel Thibaudeau, have often taken a more modern approach to scoring. Orchestral conductors such as Carl Davis and Robert Israel have written and compiled scores for numerous silent films; many of these have been featured in showings on Turner Classic Movies or have been released on DVD. Davis has composed new scores for classic silent dramas such as The Big Parade (1925) and Flesh and the Devil (1927). Israel has worked mainly in silent comedy, scoring the films of Harold Lloyd, Buster Keaton, Charley Chase and others. Timothy Brock has restored many of Charlie Chaplin's scores, in addition to composing new scores. Contemporary music ensembles are helping to introduce classic silent films to a wider audience through a broad range of musical styles and approaches. Some performers create new compositions using traditional musical instruments, while others add electronic sounds, modern harmonies, rhythms, improvisation and sound design elements to enhance the viewing experience. Among the contemporary ensembles in this category are Un Drame Musical Instantané, Alloy Orchestra, Club Foot Orchestra, Silent Orchestra, Mont Alto Motion Picture Orchestra, Minima and the Caspervek Trio, RPM Orchestra. Donald Sosin and his wife Joanna Seaton specialize in adding vocals to silent films, particularly where there is onscreen singing that benefits from hearing the actual song being performed. Films in this category include Griffith's Lady of the Pavements with Lupe Vélez, Edwin Carewe's Evangeline with Dolores del Río, and Rupert Julian's The Phantom of the Opera with Mary Philbin and Virginia Pearson.[citation needed] The Silent Film Sound and Music Archive digitizes music and cue sheets written for silent film and makes it available for use by performers, scholars, and enthusiasts.[18] Acting techniques Lillian Gish, the "First Lady of the American Cinema", was a leading star in the silent era with one of the longest careers—1912 to 1987. Silent-film actors emphasized body language and facial expression so that the audience could better understand what an actor was feeling and portraying on screen. Much silent film acting is apt to strike modern-day audiences as simplistic or campy. The melodramatic acting style was in some cases a habit actors transferred from their former stage experience. Vaudeville was an especially popular origin for many American silent film actors.[3] The pervading presence of stage actors in film was the cause of this outburst from director Marshall Neilan in 1917: "The sooner the stage people who have come into pictures get out, the better for the pictures." In other cases, directors such as John Griffith Wray required their actors to deliver larger-than-life expressions for emphasis. As early as 1914, American viewers had begun to make known their preference for greater naturalness on screen.[19] Silent films became less vaudevillian in the mid-1910s, as the differences between stage and screen became apparent. Due to the work of directors such as D. W. Griffith, cinematography became less stage-like, and the development of the close up allowed for understated and realistic acting. Lillian Gish has been called film's "first true actress" for her work in the period, as she pioneered new film performing techniques, recognizing the crucial differences between stage and screen acting. Directors such as Albert Capellani and Maurice Tourneur began to insist on naturalism in their films. By the mid-1920s many American silent films had adopted a more naturalistic acting style, though not all actors and directors accepted naturalistic, low-key acting straight away; as late as 1927, films featuring expressionistic acting styles, such as Metropolis, were still being released.[19] Greta Garbo, who made her debut in 1926, would become known for her naturalistic acting. According to Anton Kaes, a silent film scholar from the University of California, Berkeley, American silent cinema began to see a shift in acting techniques between 1913 and 1921, influenced by techniques found in German silent film. This is mainly attributed to the influx of emigrants from the Weimar Republic, "including film directors, producers, cameramen, lighting and stage technicians, as well as actors and actresses".[20] Projection speed Until the standardization of the projection speed of 24 frames per second (fps) for sound films between 1926 and 1930, silent films were shot at variable speeds (or "frame rates") anywhere from 12 to 40 fps, depending on the year and studio.[21] "Standard silent film speed" is often said to be 16 fps as a result of the Lumière brothers' Cinématographe, but industry practice varied considerably; there was no actual standard. William Kennedy Laurie Dickson, an Edison employee, settled on the astonishingly fast 40 frames per second.[3] Additionally, cameramen of the era insisted that their cranking technique was exactly 16 fps, but modern examination of the films shows this to be in error, that they often cranked faster. Unless carefully shown at their intended speeds silent films can appear unnaturally fast or slow. However, some scenes were intentionally undercranked during shooting to accelerate the action—particularly for comedies and action films.[21] Cinématographe Lumière at the Institut Lumière, France. Such cameras had no audio recording devices built into the cameras. Slow projection of a cellulose nitrate base film carried a risk of fire, as each frame was exposed for a longer time to the intense heat of the projection lamp; but there were other reasons to project a film at a greater pace. Often projectionists received general instructions from the distributors on the musical director's cue sheet as to how fast particular reels or scenes should be projected.[21] In rare instances, usually for larger productions, cue sheets produced specifically for the projectionist provided a detailed guide to presenting the film. Theaters also—to maximize profit—sometimes varied projection speeds depending on the time of day or popularity of a film,[22] or to fit a film into a prescribed time slot.[21] All motion-picture film projectors require a moving shutter to block the light whilst the film is moving, otherwise the image is smeared in the direction of the movement. However this shutter causes the image to flicker, and images with low rates of flicker are very unpleasant to watch. Early studies by Thomas Edison for his Kinetoscope machine determined that any rate below 46 images per second "will strain the eye".[21] and this holds true for projected images under normal cinema conditions also. The solution adopted for the Kinetoscope was to run the film at over 40 frames/sec, but this was expensive for film. However, by using projectors with dual- and triple-blade shutters the flicker rate is multiplied two or three times higher than the number of film frames — each frame being flashed two or three times on screen. A three-blade shutter projecting a 16 fps film will slightly surpass Edison's figure, giving the audience 48 images per second. During the silent era projectors were commonly fitted with 3-bladed shutters. Since the introduction of sound with its 24 frame/sec standard speed 2-bladed shutters have become the norm for 35 mm cinema projectors, though three-bladed shutters have remained standard on 16 mm and 8 mm projectors, which are frequently used to project amateur footage shot at 16 or 18 frames/sec. A 35 mm film frame rate of 24 fps translates to a film speed of 456 millimetres (18.0 in) per second.[23] One 1,000-foot (300 m) reel requires 11 minutes and 7 seconds to be projected at 24 fps, while a 16 fps projection of the same reel would take 16 minutes and 40 seconds, or 304 millimetres (12.0 in) per second.[21] In the 1950s, many telecine conversions of silent films at grossly incorrect frame rates for broadcast television may have alienated viewers.[24] Film speed is often a vexed issue among scholars and film buffs in the presentation of silents today, especially when it comes to DVD releases of restored films, such as the case of the 2002 restoration of Metropolis.[25] Tinting Main article: Film tinting A scene from The Cabinet of Dr. Caligari starring Friedrich Feher—an example of an amber-tinted film With the lack of natural color processing available, films of the silent era were frequently dipped in dyestuffs and dyed various shades and hues to signal a mood or represent a time of day. Hand tinting dates back to 1895 in the United States with Edison's release of selected hand-tinted prints of Butterfly Dance. Additionally, experiments in color film started as early as in 1909, although it took a much longer time for color to be adopted by the industry and an effective process to be developed.[3] Blue represented night scenes, yellow or amber meant day. Red represented fire and green represented a mysterious atmosphere. Similarly, toning of film (such as the common silent film generalization of sepia-toning) with special solutions replaced the silver particles in the film stock with salts or dyes of various colors. A combination of tinting and toning could be used as an effect that could be striking. Some films were hand-tinted, such as Annabelle Serpentine Dance (1894), from Edison Studios. In it, Annabelle Whitford,[26] a young dancer from Broadway, is dressed in white veils that appear to change colors as she dances. This technique was designed to capture the effect of the live performances of Loie Fuller, beginning in 1891, in which stage lights with colored gels turned her white flowing dresses and sleeves into artistic movement.[27] Hand coloring was often used in the early "trick" and fantasy films of Europe, especially those by Georges Méliès. Méliès began hand-tinting his work as early as 1897 and the 1899 Cendrillion (Cinderella) and 1900 Jeanne d'Arc (Joan of Arc) provide early examples of hand-tinted films in which the color was a critical part of the scenography or mise en scène; such precise tinting used the workshop of Elisabeth Thuillier in Paris, with teams of female artists adding layers of color to each frame by hand rather than using a more common (and less expensive) process of stenciling.[28] A newly restored version of Méliès' A Trip to the Moon, originally released in 1902, shows an exuberant use of color designed to add texture and interest to the image.[29] Comments by an American distributor in a 1908 film-supply catalog further underscore France's continuing dominance in the field of hand-coloring films during the early silent era. The distributor offers for sale at varying prices "High-Class" motion pictures by Pathé, Urban-Eclipse, Gaumont, Kalem, Itala Film, Ambrosio Film, and Selig. Several of the longer, more prestigious films in the catalog are offered in both standard black-and-white "plain stock" as well as in "hand-painted" color.[30] A plain-stock copy, for example, of the 1907 release Ben Hur is offered for $120 ($3,456 USD today), while a colored version of the same 1000-foot, 15-minute film costs $270 ($7,777) including the extra $150 coloring charge, which amounted to 15 cents more per foot.[30] Although the reasons for the cited extra charge were likely obvious to customers, the distributor explains why his catalog's colored films command such significantly higher prices and require more time for delivery. His explanation also provides insight into the general state of film-coloring services in the United States by 1908: Price for a hand-colored print of Ben Hur in 1908 The coloring of moving picture films is a line of work which cannot be satisfactorily performed in the United States. In view of the enormous amount of labor involved which calls for individual hand painting of every one of sixteen pictures to the foot or 16,000 separate pictures for each 1,000 feet of film very few American colorists will undertake the work at any price. As film coloring has progressed much more rapidly in France than in any other country, all of our coloring is done for us by the best coloring establishment in Paris and we have found that we obtain better quality, cheaper prices and quicker deliveries, even in coloring American made films, than if the work were done elsewhere.[30] By the beginning of the 1910s, with the onset of feature-length films, tinting was used as another mood setter, just as commonplace as music. The director D. W. Griffith displayed a constant interest and concern about color, and used tinting as a special effect in many of his films. His 1915 epic, The Birth of a Nation, used a number of colors, including amber, blue, lavender, and a striking red tint for scenes such as the "burning of Atlanta" and the ride of the Ku Klux Klan at the climax of the picture. Griffith later invented a color system in which colored lights flashed on areas of the screen to achieve a color. With the development of sound-on-film technology and the industry's acceptance of it, tinting was abandoned altogether, because the dyes used in the tinting process interfered with the soundtracks present on film strips.[3] Early studios The early studios were located in the New York City area. Edison Studios were first in West Orange, New Jersey (1892), they were moved to the Bronx, New York (1907). Fox (1909) and Biograph (1906) started in Manhattan, with studios in St George, Staten Island. Others films were shot in Fort Lee, New Jersey. In December 1908, Edison led the formation of the Motion Picture Patents Company in an attempt to control the industry and shut out smaller producers. The "Edison Trust", as it was nicknamed, was made up of Edison, Biograph, Essanay Studios, Kalem Company, George Kleine Productions, Lubin Studios, Georges Méliès, Pathé, Selig Studios, and Vitagraph Studios, and dominated distribution through the General Film Company. This company dominated the industry as both a vertical and horizontal monopoly and is a contributing factor in studios' migration to the West Coast. The Motion Picture Patents Co. and the General Film Co. were found guilty of antitrust violation in October 1915, and were dissolved. The Thanhouser film studio was founded in New Rochelle, New York, in 1909 by American theatrical impresario Edwin Thanhouser. The company produced and released 1,086 films between 1910 and 1917, including the first film serial ever, The Million Dollar Mystery, released in 1914.[31] The first westerns were filmed at Fred Scott's Movie Ranch in South Beach, Staten Island. Actors costumed as cowboys and Native Americans galloped across Scott's movie ranch set, which had a frontier main street, a wide selection of stagecoaches and a 56-foot stockade. The island provided a serviceable stand-in for locations as varied as the Sahara desert and a British cricket pitch. War scenes were shot on the plains of Grasmere, Staten Island. The Perils of Pauline and its even more popular sequel The Exploits of Elaine were filmed largely on the island. So was the 1906 blockbuster Life of a Cowboy, by Edwin S. Porter Company and filming moved to the West Coast around 1912. Top-grossing silent films in the United States Poster for The Birth of a Nation (1915) Poster for Ben-Hur (1925) The following are American films from the silent film era that had earned the highest gross income as of 1932. The amounts given are gross rentals (the distributor's share of the box-office) as opposed to exhibition gross.[32] Title Year Director(s) Gross rental Ref. The Birth of a Nation 1915 D. W. Griffith $10,000,000 The Big Parade 1925 King Vidor $6,400,000 Ben-Hur 1925 Fred Niblo $5,500,000 The Kid 1921 Charlie Chaplin $5,450,000 Way Down East 1920 D. W. Griffith $5,000,000 City Lights 1931 Charlie Chaplin $4,300,000 The Gold Rush 1925 Charlie Chaplin $4,250,000 The Circus 1928 Charlie Chaplin $3,800,000 The Covered Wagon 1923 James Cruze $3,800,000 The Hunchback of Notre Dame 1923 Wallace Worsley $3,500,000 The Ten Commandments 1923 Cecil B. DeMille $3,400,000 Orphans of the Storm 1921 D. W. Griffith $3,000,000 For Heaven's Sake 1926 Sam Taylor $2,600,000 The Road to Ruin 1928 Norton S. Parker $2,500,000 7th Heaven 1928 Frank Borzage $2,500,000 What Price Glory? 1926 Raoul Walsh $2,400,000 Abie's Irish Rose 1928 Victor Fleming $1,500,000 During the sound era Transition Although attempts to create sync-sound motion pictures go back to the Edison lab in 1896, only from the early 1920s were the basic technologies such as vacuum tube amplifiers and high-quality loudspeakers available. The next few years saw a race to design, implement, and market several rival sound-on-disc and sound-on-film sound formats, such as Photokinema (1921), Phonofilm (1923), Vitaphone (1926), Fox Movietone (1927) and RCA Photophone (1928). Warner Bros. was the first studio to accept sound as an element in film production and utilize Vitaphone, a sound-on-disc technology, to do so.[3] The studio then released The Jazz Singer in 1927, which marked the first commercially successful sound film, but silent films were still the majority of features released in both 1927 and 1928, along with so-called goat-glanded films: silents with a subsection of sound film inserted. Thus the modern sound film era may be regarded as coming to dominance beginning in 1929. For a listing of notable silent era films, see List of years in film for the years between the beginning of film and 1928. The following list includes only films produced in the sound era with the specific artistic intention of being silent. City Girl, F. W. Murnau, 1930 Earth, Aleksandr Dovzhenko, 1930 The Silent Enemy, H.P. Carver, 1930[33][34] Borderline, Kenneth Macpherson, 1930 City Lights, Charlie Chaplin, 1931 Tabu, F. W. Murnau, 1931 I Was Born, But..., Yasujirō Ozu, 1932 Passing Fancy, Yasujirō Ozu, 1933 The Goddess, Wu Yonggang, 1934 A Story of Floating Weeds, Yasujirō Ozu, 1934 The Downfall of Osen, Kenji Mizoguchi, 1935 Legong, Henri de la Falaise, 1935 An Inn in Tokyo, Yasujirō Ozu, 1935 Happiness, Aleksandr Medvedkin, 1935 Cosmic Voyage, Vasili Zhuravlov, 1936 Later homages Several filmmakers have paid homage to the comedies of the silent era, including Charlie Chaplin, with Modern Times (1936), Orson Welles with Too Much Johnson (1938), Jacques Tati with Les Vacances de Monsieur Hulot (1953), Pierre Etaix with The Suitor (1962), and Mel Brooks with Silent Movie (1976). Taiwanese director Hou Hsiao-hsien's acclaimed drama Three Times (2005) is silent during its middle third, complete with intertitles; Stanley Tucci's The Impostors has an opening silent sequence in the style of early silent comedies. Brazilian filmmaker Renato Falcão's Margarette's Feast (2003) is silent. Writer / Director Michael Pleckaitis puts his own twist on the genre with Silent (2007). While not silent, the Mr. Bean television series and movies have used the title character's non-talkative nature to create a similar style of humor. A lesser-known example is Jérôme Savary's La fille du garde-barrière (1975), an homage to silent-era films that uses intertitles and blends comedy, drama, and explicit sex scenes (which led to it being refused a cinema certificate by the British Board of Film Classification). In 1990, Charles Lane directed and starred in Sidewalk Stories, a low budget salute to sentimental silent comedies, particularly Charlie Chaplin's The Kid. The German film Tuvalu (1999) is mostly silent; the small amount of dialog is an odd mix of European languages, increasing the film's universality. Guy Maddin won awards for his homage to Soviet era silent films with his short The Heart of the World after which he made a feature-length silent, Brand Upon the Brain! (2006), incorporating live Foley artists, narration and orchestra at select showings. Shadow of the Vampire (2000) is a highly fictionalized depiction of the filming of Friedrich Wilhelm Murnau's classic silent vampire movie Nosferatu (1922). Werner Herzog honored the same film in his own version, Nosferatu: Phantom der Nacht (1979). Some films draw a direct contrast between the silent film era and the era of talkies. Sunset Boulevard shows the disconnect between the two eras in the character of Norma Desmond, played by silent film star Gloria Swanson, and Singin' in the Rain deals with Hollywood artists adjusting to the talkies. Peter Bogdanovich's 1976 film Nickelodeon deals with the turmoil of silent filmmaking in Hollywood during the early 1910s, leading up to the release of D. W. Griffith's epic The Birth of a Nation (1915). In 1999, the Finnish filmmaker Aki Kaurismäki produced Juha in black-and-white, which captures the style of a silent film, using intertitles in place of spoken dialogue. Special release prints with titles in several different languages were produced for international distribution.[35] In India, the film Pushpak (1988),[36] starring Kamal Hassan, was a black comedy entirely devoid of dialog. The Australian film Doctor Plonk (2007), was a silent comedy directed by Rolf de Heer. Stage plays have drawn upon silent film styles and sources. Actor/writers Billy Van Zandt & Jane Milmore staged their Off-Broadway slapstick comedy Silent Laughter as a live action tribute to the silent screen era.[37] Geoff Sobelle and Trey Lyford created and starred in All Wear Bowlers (2004), which started as an homage to Laurel and Hardy then evolved to incorporate life-sized silent film sequences of Sobelle and Lyford who jump back and forth between live action and the silver screen.[38] The animated film Fantasia (1940), which is eight different animation sequences set to music, can be considered a silent film, with only one short scene involving dialogue. The espionage film The Thief (1952) has music and sound effects, but no dialogue, as do Thierry Zéno's 1974 Vase de Noces and Patrick Bokanowski's 1982 The Angel. In 2005, the H. P. Lovecraft Historical Society produced a silent film version of Lovecraft's story The Call of Cthulhu. This film maintained a period-accurate filming style, and was received as both "the best HPL adaptation to date" and, referring to the decision to make it as a silent movie, "a brilliant conceit".[39] The French film The Artist (2011), written and directed by Michel Hazanavicius, plays as a silent film and is set in Hollywood during the silent era. It also includes segments of fictitious silent films starring its protagonists.[40] The Japanese vampire film Sanguivorous (2011) is not only done in the style of a silent film, but even toured with live orchestral accompiment.[41][42] Eugene Chadbourne has been among those who have played live music for the film.[43] Blancanieves is a 2012 Spanish black-and-white silent fantasy drama film written and directed by Pablo Berger. The American feature-length silent film Silent Life started in 2006, features performances by Isabella Rossellini and Galina Jovovich, mother of Milla Jovovich, will premiere in 2013. The film is based on the life of the silent screen icon Rudolph Valentino, known as the Hollywood's first "Great Lover". After the emergency surgery, Valentino loses his grip of reality and begins to see the recollection of his life in Hollywood from a perspective of a coma – as a silent film shown at a movie palace, the magical portal between life and eternity, between reality and illusion.[44][45] The Picnic is a 2012 short film made in the style of two-reel silent melodramas and comedies. It was part of the exhibit, No Spectators: The Art of Burning Man, a 2018-2019 exhibit curated by the Renwick Gallery of the Smithsonian American Art Museum.[46] The film was shown inside a miniature 12-seat Art Deco movie palace on wheels called The Capitol Theater, created by Oakland, Ca. art collective Five Ton Crane. Right There is a 2013 short film that is an homage to silent film comedies. The 2015 British animated film Shaun the Sheep Movie based on Shaun the Sheep was released to positive reviews and was a box office success. Aardman Animations also produced Morph and Timmy Time as well as many other silent short films. The American Theatre Organ Society pays homage to the music of silent films, as well as the theatre organs that played such music. With over 75 local chapters, the organization seeks to preserve and promote theater organs and music, as an art form.[47] The Globe International Silent Film Festival (GISFF) is an annual event focusing on image and atmosphere in cinema which takes place in a reputable university or academic environment every year and is a platform for showcasing and judging films from filmmakers who are active in this field.[48] In 2018 film director Christopher Annino shot the now internationally award-winning feature silent film of its kind Silent Times.[49][50][51] The film gives homage to many of the characters from the 1920s including Officer Keystone played by David Blair, and Enzio Marchello who portrays a Charlie Chaplin character. Silent Times has won best silent film at the Oniros Film Festival. Set in a small New England town, the story centers on Oliver Henry III (played by Westerly native Geoff Blanchette), a small-time crook turned vaudeville theater owner. From humble beginnings in England, he immigrates to the US in search of happiness and fast cash. He becomes acquainted with people from all walks of life, from burlesque performers, mimes, hobos to classy flapper girls, as his fortunes rise and his life spins ever more out of control. Preservation and lost films Further information: Lost film and Film preservation A still from Saved from the Titanic (1912), which featured survivors of the disaster. It is now among those considered a lost film. The vast majority of the silent films produced in the late 19th and early 20th centuries are considered lost. According to a September 2013 report published by the United States Library of Congress, some 70 percent of American silent feature films fall into this category.[52] There are numerous reasons for this number being so high. Some films have been lost unintentionally, but most silent films were destroyed on purpose. Between the end of the silent era and the rise of home video, film studios would often discard large numbers of silent films out of a desire to free up storage in their archives, assuming that they had lost the cultural relevance and economic value to justify the amount of space they occupied. Additionally, due to the fragile nature of the nitrate film stock which was used to shoot and distribute silent films, many motion pictures have irretrievably deteriorated or have been lost in accidents, including fires (because nitrate is highly flammable and can spontaneously combust when stored improperly). Examples of such incidents include the 1965 MGM vault fire and the 1937 Fox vault fire, both of which incited catastrophic losses of films. Many such films not completely destroyed survive only partially, or in badly damaged prints. Some lost films, such as London After Midnight (1927), lost in the MGM fire, have been the subject of considerable interest by film collectors and historians. Major silent films presumed lost include: Saved from the Titanic (1912), which featured survivors of the disaster;[53] The Life of General Villa, starring Pancho Villa himself The Apostle, the first animated feature film (1917) Cleopatra (1917)[54] Gold Diggers (1923) Kiss Me Again (1925) Arirang (1926) The Great Gatsby (1926) London After Midnight (1927) Gentlemen Prefer Blondes (1928)[55] Though most lost silent films will never be recovered, some have been discovered in film archives or private collections. Discovered and preserved versions may be editions made for the home rental market of the 1920s and 1930s that are discovered in estate sales, etc.[56] The degradation of old film stock can be slowed through proper archiving, and films can be transferred to safety film stock or to digital media for preservation. The preservation of silent films has been a high priority for historians and archivists.[57] Dawson Film Find Dawson City, in the Yukon territory of Canada, was once the end of the distribution line for many films. In 1978, a cache of more than 500 reels of nitrate film was discovered during the excavation of a vacant lot formerly the site of the Dawson Amateur Athletic Association, which had started showing films at their recreation centre in 1903.[57][58] Works by Pearl White, Helen Holmes, Grace Cunard, Lois Weber, Harold Lloyd, Douglas Fairbanks, and Lon Chaney, among others, were included, as well as many newsreels. The titles were stored at the local library until 1929 when the flammable nitrate was used as landfill in a condemned swimming pool. Having spent 50 years under the permafrost of the Yukon, the reels turned out to be extremely well preserved. Owing to its dangerous chemical volatility,[59] the historical find was moved by military transport to Library and Archives Canada and the US Library of Congress for storage (and transfer to safety film). A documentary about the find, Dawson City: Frozen Time was released in 2016.[60][61] See also Category:Silent films Category:Silent film actors Classic Images Laurel and Hardy films List of film formats German Expressionism Kammerspielfilm List of silent films released on 8 mm or Super 8 mm film Lost films Melodrama Sound film Sound stage Tab show "At the Moving Picture Ball" (song about silent film stars) The term child actor or child actress is generally applied to a child acting on stage or in movies or television, but also to an adult who began their acting career as a child. To avoid confusion, the latter is also called a former child actor. Closely associated is teenage actor or teen actor, an actor who reached popularity as a teenager. Many child actors find themselves struggling to adapt as they become adults, mainly due to typecasting. Macaulay Culkin and Lindsay Lohan are two particular famous child actors who eventually experienced much difficulty with the fame they acquired at a young age. Many child actors also become successful adult actors as well, a prime example of this being Jodie Foster, who was 12 years old in the film Taxi Driver in 1976 and went on to become an adult star with variety of films including The Silence of the Lambs (1991). Contents 1 Regulation 1.1 California 1.2 United Kingdom 2 Issues 2.1 Ownership of earnings 2.2 Competitive pressure 3 After the childhood success 3.1 Other careers 4 See also 5 References 6 External links Regulation In the United States, the activities of child actors are regulated by the governing labor union, if any, and state laws. Some projects film in distant locations specifically to evade regulations intended to protect the child. Longer work hours or risky stunts prohibited by California, for example, might be permitted to a project filming in British Columbia. US federal law "specifically exempted minors working in the Entertainment Business from all provisions of the Child Labor Laws." Any regulation of child actors is governed by disparate state laws. California Due to the large presence of the entertainment industry in Hollywood, the state of California has some of the most explicit laws protecting child actors. Being a minor, a child actor must secure an entertainment work permit before accepting any paid performing work. Compulsory education laws mandate that the education of the child actor not be disrupted while the child is working, whether the child actor is enrolled in public school, private school or even home school. The child does their schoolwork under the supervision of a studio teacher while on the set. United Kingdom In the United Kingdom, a child actor is defined as someone under school leaving age.[1] Before a child can work, they require a performance license from their Local Education Authority as well as a licensed chaperone; a parent can only chaperone their own child, if they are a licensed chaperone, and a chaperone's duties include acting in loco parentis and record arrival and departure time from the work place, the time a child is working, their breaks and the amount of tutoring.[1][2] A child requires three hours minimum of tutoring daily and a lesson must be a minimum of 30 minutes to count towards the total and with regards to 16 and 17-year-olds in further education, considerations are made in regards to their studies.[3] There are regulations and guidance to safeguard all actors under the age of 18; OFCOM guidance states a child's health and safety, wellbeing and welfare is paramount in television production and factors such as their age, maturity and life experiences can affect their performance.[4] OFCOM also advises that broadcasters undertake risk assessments, consider seeking expert advice and follow best practise.[4] Issues Ownership of earnings Before the 1930s, many child actors never got to see the money they earned because they were not in charge of this money. Jackie Coogan earned millions of dollars from working as a child actor only to see most of it squandered by his parents. In 1939, California weighed in on this controversy and enacted the Coogan Bill which requires a portion of the earnings of a child to be preserved in a special savings account called a blocked trust.[5] A trust that is not actively monitored can also be problematic however as in the case of Gary Coleman who after working from 1974, later sued his adoptive parents and former business advisor for $3.8 million over misappropriation of his trust fund.[6][7] Competitive pressure Some people[who?] also criticize the parents of child actors for allowing their children to work, believing that more "normal" activities should be the staple during the childhood years. Others[who?] observe that competition is present in all areas of a child's life—from sports to student newspaper to orchestra and band—and believe that the work ethic instilled or the talent developed accrues to the child's benefit.[citation needed] The child actor may experience unique and negative pressures when working under tight production schedules. Large projects which depend for their success on the ability of the child to deliver an effective performance add to the pressure.[citation needed] Ethel Merman, who several times worked in long-running stage productions with child actors, disliked what she eventually saw as their overprofessionalization - "acting more like midgets than children" - and disapproved of parents pushing adulthood on them.[8] After the childhood success This section possibly contains synthesis of material which does not verifiably mention or relate to the main topic. Relevant discussion may be found on the talk page. (May 2019) (Learn how and when to remove this template message) Jodie Foster in 1974 There are many instances of troubled adult lives due to the stressful environment to which child actors are subjected. It is common to see a child actor grow up in front of the camera, whether in films, TV shows or both. However, it is not uncommon to see child actors continue their careers throughout as actors or in a different professional field. Jodie Foster started acting at age 3, becoming the quintessential child actor during the 1970s with roles in films such as Tom Sawyer (1973), Alice Doesn't Live Here Anymore (1974), Taxi Driver (1976), Bugsy Malone (1976), The Little Girl Who Lives Down the Lane (1976), and Freaky Friday (1976). A child prodigy, Foster received her first Academy Award nomination at age 13 and later took a sabbatical from films to attend Yale University. She made a successful transition to adult roles, winning two Academy Awards for Best Actress before the age of 30, and starring in several successful and acclaimed films such as The Accused (1988), The Silence of the Lambs (1991), Nell (1994), Maverick (1994), Contact (1997), and The Brave One (2007), thus establishing herself as one of the most accomplished and sought-after actresses of her generation. She has also ventured into directing and her directing credits include films such as Little Man Tate (1991), Money Monster (2016) and television shows such as House of Cards, Orange Is the New Black, and Black Mirror. Now adults, Daniel Radcliffe, Rupert Grint and Emma Watson, the three leads of the acclaimed Harry Potter film series (2001–11), starred in every installment in the series, and have since continued to act in film, television, and theater in their early 30s. Dakota Fanning rose to prominence after her breakthrough performance at age 7 in the film I Am Sam (2001). Her performance earned her a Screen Actors Guild Award nomination at age 8 in 2002, making her the youngest nominee in SAG history. She later appeared in major Hollywood productions, in such acclaimed blockbuster films as Man on Fire (2004), War of the Worlds (2005), Charlotte's Web (2006), Hounddog (2007), The Secret Life of Bees (2008), Coraline (2009), The Twilight Saga film series (2009–12), The Runaways (2010), and The Motel Life (2012). Fanning's younger sister, Elle Fanning also rose to prominence as a child actress, having appeared in many films since before she turned 3. Miranda Cosgrove, known mainly for her role on Nickelodeon's Drake & Josh as a child, gained more attention for her role as a teenager in the show iCarly. Since the end of the show she has been featured in other roles, including as the voice of Margo in the Despicable Me franchise. Once she was of age, she decided to pursue a college degree in film at the University of Southern California.[9] Late actress Shirley Temple became a public figure and diplomat, beginning in the 1960s. Some of her duties included representing the United Nations, and becoming a U.S. ambassador in countries such as Ghana and Czechoslovakia.[10] Mary-Kate Olsen was treated for an eating disorder, deemed anorexia, but her twin sister remained less troubled. In an article with the magazine Marie Claire, Mary-Kate expressed the bittersweet nature of the twins' childhood. "I look at old photos of me, and I don't feel connected to them at all," she said. "I would never wish my upbringing on anyone... but I wouldn't take it back for the world." The twins now have continued success in the fashion industry with an estimated net worth of approximately $100 million. Since the beginning of her career at age 15 in 1999, Mandy Moore is one of the child stars to have success as an adult. Drew Barrymore started acting at age 3. During her childhood she battled with drugs, but today she continues to act in films. Natalie Portman took a small break in acting to get a bachelor's degree in Psychology from Harvard University before continuing her career as an actress. Rider Strong, known as "Shawn Hunter" in Boy Meets World, was educated at Columbia University and now runs a successful blog and published a graphic novel.[11] Neil Patrick Harris got his acting start in Doogie Howser, M.D. He continues to act in television, films and theater. Jonathan Lipnicki, known mostly for the Stuart Little films, now successfully competes in Brazilian jiu-jitsu.[11] Sara Gilbert is known for her role on Roseanne and is now successful as a talk show host on The Talk. Also from Rosanne, Michael Fishman continued to work in film, but behind the scenes and has since been nominated for an Emmy for the work he did in Sports Science.[11] Kirsten Dunst and Lacey Chabert both made the transition from a child actress to an adult actress with a rough patch including depression. After a stay in a rehabilitation center, Dunst was able to recover and continue her career. She proves that the pressures of growing up under the spotlight may not come without repercussions.[12] Roddy McDowall, who had a long and outstanding career including as the regular star of the Planet of the Apes series; Micky Dolenz, who started his career as a child star in the 1950s, grew up to be a musician of the successful 1960s pop group The Monkees, which had its own successful television show; Ron Howard, who, in addition to being the star of both of the long running The Andy Griffith Show and Happy Days television series, became an Academy Award-winning director in adulthood; Elijah Wood, who continued his career successfully into adulthood starring as Frodo Baggins in The Lord of the Rings film series and starring as Ryan Newman in the television series Wilfred. Other child actors who have continued their careers into adulthood include Mandy Moore, Rose Marie, Hayley Mills, Ann Jillian, Johnny Whitaker, Kathy Garver, Tim Matheson, Bonnie Franklin, Melissa Gilbert, Danielle Brisebois, Erika Eleniak, Max Pomeranc, Christina Ricci, Shelley Fabares, Candace Cameron Bure, Karron Graves, Gaby Hoffmann, Hilary Duff, Molly Ringwald, Stacy Ferguson, Jennifer Love Hewitt, Lisa Whelchel, Sarah Michelle Gellar, Soleil Moon Frye, Melissa Joan Hart, Dean Stockwell, Kurt Russell, Fred Savage, Neil Patrick Harris, Michelle Chia, Shawn Lee, Joshua Ang, Aloysius Pang, Raven-Symoné and other Academy Award winners and nominees include; Mickey Rooney, Judy Garland, Scarlett Johansson, Jake Gyllenhaal, Joaquin Phoenix, Helen Hunt, Irene Cara, Reese Witherspoon, Hilary Swank, Christian Bale, Saoirse Ronan, Brie Larson, Regina King, Jennifer Lawrence, Emma Stone, Elizabeth Taylor, and Leonardo DiCaprio. Other careers Many actors' careers are short-lived and this is also true of child actors. Many actors out of personal choice that start their careers as child actors decide not to pursue the same careers as adults, Shirley Temple became a public figure and diplomat. Peter Ostrum, appearing in his only role, the titular character of Charlie Bucket in Willy Wonka and the Chocolate Factory became a large-scale veterinarian surgeon. Whilst Jenny Lewis, formerly of film Troop Beverly Hills in 1989, is a well-known singer-songwriter indie rock musician. In Poland, former child actors and identical twin brothers Lech and Jarosław Kaczyński became successful politicians, at one time Lech being President and Jarosław the Prime Minister.
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