Cox's navy : salvaging the German High Seas Fleet at Scapa by Cox, Ernest Frank Guelph; Cox, Ernest Frank Guelph; Booth,

By Cox, Ernest Frank Guelph; Cox, Ernest Frank Guelph; Booth, Tony; Cox, Ernest Frank Guelph

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Extra info for Cox's navy : salvaging the German High Seas Fleet at Scapa Flow, 1924-1931

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More frequent and more salient in shaping Joan the Woman were concerns about business, budgets, and stars. Topicality, thus, was not deployed in any comprehensive or systematic way in the advertising campaign to sell Joan the Woman to the movie-goers of New York City in December of 1916 and by extension to movie-goers across the country in the territories served by states rights buyers. The history that was offered as salient was French history, but of the Middle Ages and the French Revolution.

Geraldine Farrar as Joan of Arc. Images of large, strong women were common in World War I posters. Still from Joan the Woman, courtesy of the Museum of Modern Art. S. WOMEN 0 .. AV YOUR COUNTRY Buy WAR SAVINGS STAMPS ll'" '" T EA5 V PARTME "'IT Fig. 1. 7. Joan of Arc as portrayed in the posters of the War Savings Stamps campaign. Courtesy of Walton Rawls, Wake Up America. 26 The Coming ofWar 27 Regardless of the critical appraisal of her performance, both Joan of Arc and Farrar's interpretation of Joan resonated throughout the months of United States involvement in World War I.

More quaint and loveable characters. Motography, 9 March 19185 The film industry did not alter its production schedule immediately, and it did not change its production tactics to exploit the commercial potential of the war. In April, May, and June of 1917 there were relatively few warrelated narrative films in distribution. This trend continued even after September 1917, the first new movie season after American entry into the war. Production decisions were based, as in the case of Joan the Woman, on existing trends.

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