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Jacksonville, Florida, was the king of the infant film industry. Devastated by fire in 1901, rebuilt in a wide variety of architectural styles, sharing the same geographic and meteorological DNA as southern California, the city was an ideal location for northern film production companies looking to relocate.
- Sales Rank: #1565008 in Books
- Published on: 2008-07-28
- Original language: English
- Number of items: 1
- Dimensions: 8.90" h x 1.10" w x 6.30" l, .90 pounds
- Binding: Hardcover
- 240 pages
Review
"A compelling story of the rise and fall of Jacksonville, Florida, as a major motion picture studio rival to Hollywood. Along the way you'll meet visionaries, film pioneers, and famous names, as well as grifters and con men." - Richard Alan Nelson, author of Lights! Camera! Florida! "Although nonfiction, at times it reads like a fast-paced novel, telling the story of how it was Jacksonville - not Hollywood - that served as this country's first film capital. A fascinating read." - Patrick D. Smith, Pulitzer- and Nobel Prize - nominated author, Florida Artists Hall of Fame inductee"
About the Author
Shawn C. Bean has twice been named Writer of the Year by the Florida Magazine Association. He is a former music and theater reviewer for the Miami New Times and current contributor to Florida Travel & Life and Miami.
Most helpful customer reviews
1 of 1 people found the following review helpful.
Lights, Action, Camera
By Marcus W Pernod
Occasionally an article might appear in Florida newspapers about how Jacksonville at one time was the motion picture capital of America. Of the 30 or so studios in Jacksonville, there was Metro Studios (which became part of Metro-Goldwyn-Mayer). A fat guy named Oliver Hardy came down from Georgia to perform either as a villain or in a comic role. This was ten or more years ago before he was paired with Stan Laurel.
The city's greatest architect, H. J. Klutho, helped to rebuild the city after its great fire of 1901 (the worst in the Southeast), but Klutho went broke trying to run, or rent out, his own studio.
Shawn Bean tracks the film career of Richard E. Norman, who turned to making films solely for African American audiences. He purchased the bankrupt Eagle Studios and made feature films there until sound came in. In fact, the Norman Studios buildings still exist and are the ONLY silent film studio complex still standing.
Bean tracks why Jacksonville, in effect, rejected its chance to become "Hollywood." The conservative town's ministers objected to shoot-em-ups being shot on Sundays downtown; the citizens tired of false fire alarms being called in just to so a company could film the trucks bursting out of the fire stations.
A 1917 election campaign between pro-film candidate J.E.T. Bowden and future governor John Wellborn Martin convinced many studios that it might be better to join their colleagues in some little town out in Southern California.
Howard Denson
Author: "Mowbray and the Sharks," "Shoot-Out with a Wild-eyed Radical," and "A Quandary of Fibbles"
1 of 7 people found the following review helpful.
The First Hollywood
By Lyle J. Christiansen
Dear Good People:
The books were not what I expected. I ordered two.
I did notice that the text size would have been
better if darker and larger.
I sent the two books back and asked for a refund.
Lyle Christiansen
701 Imperial Drive
Morris , MN 56267
0 of 0 people found the following review helpful.
How Florida almost beat Hollywood to the punch
By Steven Bailey
I was lucky to meet this book's author, Shawn C. Bean, at a recent lecture in Ponte Vedra Beach, Florida, where he amply demonstrated the storytelling skills required to pull off such a book. (Admission: I live in Jacksonville, Florida, where much of the book's story took place.) The book itself is concise, fascinating reading about how Jacksonville's infamous 1901 fire paved the way for architects to come to Jacksonville and build structures in different styles, causing moviemakers to realize that sunny Florida could double for tropical and adventurous settings throughout the world.
Bean points out how precursors of big-name studios (such as 20th Century-Fox and MGM) first established ground in Florida, as well as the one-time Southeastern movie industry crumbled under the weights of corruption and Victorian-era bluenosing. Finally, the book details how Florida got its final shot as a movie giant by making movies with all-black casts and stories -- ironically, under the direction of a white filmmaker, and in a part of the country that proudly declared its Jim Crow policies.
For anyone interested in early film history, this breezily written book is a must.
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