The glamor!

魅力！

The celebrities!

名人！

The scandals!

醜聞！

I'm not talking about Bennifer or Brangelina.

我並不是在說 Bennifer 或 Brangelina (註：Bennifer 指班·艾佛列克及珍妮佛．洛佩茲；Brangelina指布萊德彼特及裘莉)

-Are they still things? -No... -Oh, I'm kind of out of touch.

- 這個話題還火嗎？ - 不火 - 哦，我有點久沒更新了

But I'm not out of touch with the Golden Age of Silent Cinema, when stars rose and fell,

但我對於眾星升起、殞落的無聲電影黃金年代可是清楚的很

studios perfected the mass production of films,

工作室造就了電影的大量生產

and American movies dominated the global film market.

而美國電影稱霸了全球電影市場

In some ways, it was very different from the Hollywood we know today.

某種程度上來說，這與我們今日所認識的好萊塢有很大的不同

Movie studios wielded enormous power.

電影工作室掌握了很大的權力

They kept stars and directors under tight control.

他們嚴格控制了影星及導演

The movies they made were silent.

他們所製作的電影是無聲的

And a ticket would set you back a whopping 10 or 25 cents.

而一張票要價高達 10 或 25 分美元

On the other hand, a lot of the patterns set during this time still seem awfully familiar today.

另一方面，這個時段中所訂下的許多規範至今似乎仍非常令人熟悉

Studios marketed films on the power of their stars.

工作室憑藉旗下影星的力量推銷電影

Genres like gangster movies and romantic comedies took hold and flourished.

黑幫及浪漫喜劇這類型的電影開始流行、蓬勃發展

And audiences craved gossip about the private lives of celebrities.

觀眾渴望取得名人私生活的花邊新聞

To understand the world as it is, sometimes you have to go back to where it all began.

想了解世界現今的模樣，有時候你必須回歸一切的原點

And for Hollywood, that's the Silent Era.

而對於好萊塢，那便是默片時代

[Opening Music Plays]

[開場音樂]

Film was going in a lot of different directions

電影在第一次世界大戰後

after the First World War.

產生了許多發展方向

In Germany, filmmakers drew on the Expressionist movement to manipulate their film's mise-en-scene,

德國的電影製作人利用表現主義來操縱電影的場面調度

creating groundbreaking horror films.

創作了開創性的恐怖電影

In Russia, Soviet filmmakers were using cinema to perfect the art of propaganda

俄國蘇聯的電影製作人透過革命性的編輯技術

through revolutionary editing techniques.

利用電影造就宣傳的藝術

And in the US, the Hollywood studio system was positioning itself

而美國的好萊塢工作室則是將自己設定在

to dominate the rest of the world.

稱霸世界的地位

Within film studios, the entire filmmaking process took place -- from conceiving, writing,

整個電影的製作過程皆在電影工作室中進行－－從構思、寫作

and shooting the films, to marketing and distribution.

到拍攝電影和行銷、散佈

The studios had chosen California for its film-friendly sunny weather, its proximity

這些電影工作室選擇加州作為據點，看準其適合拍片的宜人天氣、與各種地形的相近性

to all kinds of terrain, and ... its distance from Thomas Edison, who spent much of the

以及與 Thomas Edison 的遠距離，一位在 1910 年代花了大半輩子時間

1910s fighting for control of the American film industry from his base in New Jersey.

以其位於紐澤西的基礎試圖爭奪美國電影產業控制權的人

In the early days of the Silent Era, three film studios ruled them all:

在默片時代的前期，有三間電影工作室稱霸這個產業：

The Famous Players-Lasky Corporation, which would eventually become Paramount Pictures,

Famous Players-Lasky 公司，後來成為現今的 Paramount Pictures

Loew's Inc., which began as a theater chain,

Loew's 公司，始於一間連鎖劇院

and First National Pictures.

以及 First National Pictures

Not only did these three dominate the marketplace, they exercised near complete control over

這三間公司除了稱霸市場外，他們幾乎完全掌控了

the creative and personal lives of their stars, writers, and directors.

旗下影星、作家及導演的創作及私生活

Filmmakers often had to choose between following the studio's orders or abandoning their careers.

電影製作人通常只能在遵守工作室條款及放棄生涯兩者之間作選擇

Then, four of the most powerful figures in early silent cinema came together to create

接著，默片時代前期當中最具影響力的四位人物合作打造了

their own film studio.

他們自己的電影工作室

In 1919, two directors, Charlie Chaplin and D.W. Griffith,

1919 年，兩位導演，Charlie Chaplin 及 D.W. Griffith

and two stars, Douglas Fairbanks and Mary Pickford, founded United Artists.

及兩位影星，Douglas Fairbanks 及 Mary Pickford，創立了 United Artists

Their goal was to give filmmakers more control over their films

目標是讓電影製作人對於自己的電影能有更多的掌握權

and a greater percentage of the profits.

並取得更高的分潤

CHA-CHING! Is what I assume they would say.

[收銀機開關擬聲] 我想他們會這樣說

Of course, not many filmmakers could afford to go out on their own like that,

當然，沒有多少電影製作人能負擔的起像他們一樣自己開設工作室的費用

so the contract system would continue for several more decades.

所以這樣的合約系統仍會再持續數十年

In 1924, the most powerful studio emerged when Loew's purchased Goldwyn Pictures and

1924 年，權力最大的工作室出現了，而這間工作室即為 Loew's 買下 Goldwyn Pictures

Louis B. Mayer Productions to create Metro-Goldwyn-Mayer, better known as MGM.

和 Louis B. Mayer Productions 兩間公司後所建立的 Metro-Goldwyn-Mayer，簡稱 MGM

Which lead to MGM studios which lead to Tower of Terror,

後來出現的好萊塢夢工廠及設施中的驚魂古塔都是由此開始的

and have you been on Tower of Terror? That's a pretty fun time.

你玩過驚魂古塔嗎？那的確蠻好玩的

This is a process that would get repeated throughout the 1920s and 1930s,

工作室這樣合併、出售及分裂的過程

as studios merged or sold or split apart.

在 1920 及 1930 年代不斷地重複

Probably because there was this prohibition and they didn't have anything else to do.

也許是因為當時禁令的關係，他們並沒有太多事可以做

By the end of the era, most American films were being made at studios whose names you

在這個時代的尾聲，大多數的美國電影都是由現今你從各式各樣的管道中會認識的

might recognize from the multiplex today: Not only United Artists and MGM, but also

工作室所製作：不僅僅是 United Artists 及 MGM，還有

Warner Brothers, Fox, Universal, and Columbia Pictures.

Warner Brothers、Fox、Universal 及 Columbia Pictures

Now while the corporate structure of these companies kept changing, the process by which

現今正當公司內部結構不斷改變，這些公司打造電影

they were making films was becoming remarkably stable and efficient. Unlike me.

的過程也變得出色地穩定和有效率，跟我不一樣

The major studios became very good at

主要的工作室變得很擅長

churning out large-scale, commercial movies with mass appeal.

打造能夠吸引大量觀眾的大規模商業電影

One of the leading innovators in setting up the way studios worked was a man named Thomas H. Ince.

Thomas H. Ince 是建立起工作室電影製造流程的領導改革者之一

Like D.W. Griffith, Ince came to film as a failed actor.

如同 D.W. Griffith，Ince 最初以演員的身分投入電影產業並以失敗告終

He directed his first film in 1910,

他在 1910 年執導了他的第一部電影

and by 1913 he was making as many as 150 two-reelers a year!

而截至 1913 年，他每年拍攝了多達 150 部的「兩本影片」！(註：放映時間約 20 分鐘之影片)

His biggest impact on film came by applying the lessons of mass production

他對電影產業最大的影響是將大量生產的概念用於

to the actual making of movies.

電影的實際製作上

Prior to Ince, most films were overseen by a director-cameraman,

在 Ince 之前，大多數的電影都是受到一位攝影指導者所監督

a single person who conceived the story, worked with the actors, and operated the camera.

這位攝影指導者同時負責構思故事、協調演員並執掌鏡頭

Ince broke those roles into separate jobs:

Ince 將這個角色拆成分開的工作：

A screenwriter to conceive the story and write the script.

編劇負責構思故事、撰寫劇本

A director to make creative decisions on set and work with the actors.

導演負責做片場的創意決策、協調演員

An editor to assemble the footage.

剪輯負責組合電影片段

A producer to supervise the project from inception to final cut.

製作人負責監督整部電影從開始到最終剪接的情況

And a studio head to oversee the entire studio.

工作室總監負責監工整個工作室

While other filmmakers had played around with these roles,

當其他電影製作人在這些角色之間徘徊時

it was Ince who standardized them into a system – a system still used today.

是 Ince 將這些角色標準化成一個系統，一個至今仍被使用的系統

By 1912, he'd earned enough money to buy a ranch west of Hollywood

截至 1912 年，他纂足了錢以在好萊塢西區買下了一個農場

where he built his own studio, a place he called Inceville…

以此建立自己的工作室，稱為 Inceville

Yep!

是的！

It was here where the first permanent exterior sets were built,

這就是第一個永久拍攝外景被建立的地方

made to resemble far flung locations,

用以建築相似於遙遠地點的地景

like a cowboy saloon, a little Swiss street, or a Japanese village.

如一個牛仔酒吧、一條小瑞士街區或一座日本村莊

And as Ince worked to define the roles and streamline the means of production,

而當 Ince 在定義角色、合理化製作方式時

he was able to triple the output of his studio.

他得以增加工作室的產能為三倍

Though he died quite young in 1924,

雖然很年輕時便於 1924 年去世

Ince's impact on film production was thorough, widespread, and lasting.

Ince 對於電影生產的影響仍全面、普及且持久

Now, Mack Sennett, another early film mogul and one-time partner of Ince,

現在，電影早期的另一個顯要人物，同時一度是 Ince 夥伴的 Mack Sennett

was responsible for discovering a whole slew of film legends,

負責發掘一大票的傳奇電影人物

whose names you might recognize.

這些傳奇人物可能是你耳熟能詳的

People like the Keystone Cops, Fatty Arbuckle, Gloria Swanson,

像是 Keystone Cops、Fatty Arbuckle、Gloria Swanson

Carole Lombard, W.C. Fields, and… the great Charlie Chaplin.

Carole Lombard、W.C. Fields 以及偉大的卓別林.

Let's talk a little bit about Charlie Chaplin.

讓我們稍微來談一下卓別林

He was born into poverty in England in 1889.

他於 1889 年誕生於英國一個貧窮的家庭中

He went into acting, signed with a prestigious Vaudeville touring company,

他成為演員並與知名的巡迴歌舞雜耍公司簽約

and set off for America at age 19.

並在 19 歲時前往美國

A film talent scout spotted him there, got him hired by Sennett, and the rest is history.

一個電影星探在美國發掘了他，使他加入 Sennett，而接下來的事你們都知道了

That we're gonna talk about because we're talking about Film History.

不過我們還是要來說一下，因為我們正在講述電影歷史

Smart, curious, and driven, it didn't take long for Chaplin

聰明、好奇、奮發的個性使得卓別林很快地

to develop his iconic Tramp persona and begin directing his own films.

便發展出他標誌性的《流浪漢》角色並開始指導自己的電影

After finishing his first film contract, Chaplin struck an extremely lucrative deal with the

在結束自己的第一個電影合約之後，卓別林與芝加哥的 Essanay Studios

Chicago-based Essanay Studios to make 14 short films.

達成了拍攝 14 部短片之極度誘人的協議

While at Essanay, he found ways to combine his finely tuned sense of empathy

在 Essanay 時，他找到結合自己細緻同理心及高辨識度之《流浪漢》角色的方式

and his recognizable Tramp character with a growing ability to make audiences laugh,

這些方式透過肢體喜劇及愈加聰明的故事情節

through both physical comedy and increasingly clever storylines.

有著愈發能逗笑觀眾的能力

In fact, he was so popular that by the time his Essanay contract was up in 1915,

事實上，1915 年在他仍與 Essanay 簽約時，由於他實在太有名

he negotiated an almost unprecedented salary of $10,000 per week

他與另一個事務所 Mutual Film Corporation

with another studio, the Mutual Film Corporation.

交涉出高達 10,000 美元近乎空前的週薪

They also paid him a signing bonus of $150,000,

他們甚至還支付了 150,000 美元的簽約獎金

the equivalent of about $3.5 million dollars today.

大約等同於現今的 3,500,000 美元

CHA-CHING! Is what they would have said at the time.

[收銀機開關擬聲] 我想那時的他們大概會這樣說

The movies Chaplin made with Mutual brought him international stardom.

卓別林在 Mutual 拍攝的電影讓他成為國際巨星

They marked the first time his focus on the poor verged into social criticism,

這是卓別林第一次跨過對於貧窮者的關懷，進一步地加入一些社會批評的元素

a place silent comedies rarely, if ever, went.

而這是默片過去幾乎不曾觸及的地方

True to his roots, and despite being one of the highest paid people in the world,

儘管身為世界上最高薪的人之一，誠如卓別林的出生

Chaplin's films often focused on the gentle, accidental heroism of the downtrodden.

他的電影時常以備受環境蹂躪下之紳士的、偶然的英雄事蹟為焦點

Time and again, he made the powerful the butt of his jokes

一次又一次地，他的笑話將掌權者踩在腳底下

and displayed tremendous empathy for the poor and the humble.

並展現了對於貧窮者及受貶抑者強烈的同理心

Then in 1919, at age 30, he co-founded United Artists

後來在 1919 年時，30 歲的卓別林共同創立了 United Artists

in an effort to exercise greater control over his films.

為了取得對於自己電影更大的控制權

I'm 36... I better get moving.

我已經 36 歲了.... 我最好開始行動了...

What followed was a string of classic movies that rank not only among Chaplin's best,

隨之而來的是一連串的經典電影，不僅是卓別林的最佳作品

but among the best film comedies of all time:

也名列有史以來最佳的喜劇電影：

The Kid, his first feature film and a smash hit,

《孤兒流浪記》，他的第一部劇情片，一部十分轟動的電影作品

,The Gold Rush, City Lights, Modern Times,

《淘金記》、《城市之光》、《摩登時代》

and his controversial take-down of Adolf Hitler, The Great Dictator.

及他極具爭議性的反希特勒作品《大獨裁者》

His later career would be hampered by legal problems and socialist sympathies,

他後期的生涯受到法律問題及社會主義關懷所阻礙

which would land him on the infamous post-war blacklist, and keep him from making films.

讓他登上聲名狼藉的戰後黑名單，阻止他繼續製作電影

But at his height, no one benefited more from the Silent Era studio system than Charlie Chaplin,

但是以他所攀及的地位來說，默片時代中沒有一人能像卓別林一樣在工作室體制下如此獲利

as a director, making a lot of films quickly and efficiently,

身為一位導演，他快速、有效率地生產電影

and as an actor, commanding enormous salaries and unheard-of creative control.

身為一位演員，他賺取高額薪水並脫離創意的控制

And he wasn't the only one to turn this system to his advantage.

但他並不是唯一一位依據自己優勢來調整產業運作系統的人

Actor-directors like Buster Keaton, "Fatty" Arbuckle, and Harold Lloyd

身為演員暨導演的 Buster Keaton、"胖胖" Arbuckle 及 Harold Lloyd

achieved great success making their own short and feature-length comedies.

皆在製作自己的短篇及長篇喜劇中取得了大成功

Stars from Mary Pickford to Gloria Swanson parlayed their celebrity into tangible behind-the-scenes power.

從 Mary Pickford 到 Gloria Swanson 等影星皆利用自己的名聲來取得幕後的實際權力

Now, as film became more and more central to popular culture,

現今，隨著電影逐漸成為中心主流文化

some people started to get nervous.

許多人開始感到不安

They worried that movies posed a real threat to public morality.

他們擔心電影會對於社會道德產生真實的威脅

They saw films promoting materialism, cynicism, and sexual license.

他們看見電影宣傳唯物主義、犬儒主義及性解放

This would be a debate that would come up again and again in American culture

這是美國文化中將會被不斷提起的爭點

about movies or music or video games

不管是對於電影、音樂或電玩遊戲

until now when we've solved all those problems.

直到現今我們解決這些問題時

Is the medium causing society's problems,

這些社會問題究竟是被這些媒體造就的？

or just reflecting them?

或僅僅是被反映出來的呢？

A few real-life Hollywood scandals at the time tipped the scales,

當時一些好萊塢的真實醜聞改變了情勢

bringing on the first real self-censorship of American cinema.

將美國電影界第一個自律條款搬上檯面

The gossip press fed readers stories about stars dealing with addictions, affairs, and worse.

八卦媒體將影星的藥癮、外遇甚至更差的事件公諸於讀者

The most famous of these centered around Fatty Arbuckle, who was accused of the rape and

其中最有名的為胖胖 Arbuckle 的事件，他被指控強暴並造成

accidental death of an actress named Virginia Rappe.

名為 Virginia Rappe 的女星的意外死亡

Although he was ultimately acquitted after three highly-publicized trials, the scandal

雖然他在三輪被高度宣傳的審判過後最終被宣判無罪，這樁醜聞

itself all but ended Arbuckle's career, and left an opening for a government crackdown

結束了 Arbuckle 的生涯，並觸動政府開始打擊

on immorality in films and the film business.

電影中及電影產業中的不道德行為

Rather than wait for Congress to get involved, the major players in the film industry banded

相較於等待國會採取行動，電影產業中的數個要角聯合起來

together to form the MPPDA – the Motion Picture Producers and Distributors of America.

組織了 MPPDA－－美國電影協會

They hired a retired Postmaster General named Will Hays, a conservative Evangelical,

他們雇用了退休的郵政總長 Will Hays，一位保守的新教徒

to prove they were serious about cleaning up their act.

來證明他們對於整頓產業行為的決心

And that's exactly what Hays did in 1930,

而這正是 Hays 在 1930 做的事情

putting together the Motion Picture Production Code, also known as the Hays Code,

建立起《電影製作守則》，或稱《海斯法典》

a catalogue of things filmmakers could and couldn't show on screen.

一個規範了電影製作人可以及不可以在螢幕上呈現的事物的目錄

...Fun.

...蠻有趣的

The Code also suggested a strategy called Compensating Values.

這部法點也建議了一套叫做「補償價值」的策略

The idea was that films could show characters engaging in vice for most of the film,

這個策略的重點是，大多數的電影如果想演出罪惡

as long as virtue triumphed in the end.

就必須讓美德在最後戰勝罪惡

No one employed this technique better than director Cecile B. DeMille.

沒有人能比 Cecile B. DeMille 更巧妙地掌握這項技巧了

He was a master at giving the audience all the vice and excess they could handle

他是能夠在美德出現之前，在電影的前四分之三

for the first three quarters of the movie, before virtue came out on top.

將所有罪惡以及更甚者呈現給觀眾的大師

Other filmmakers found their own ways around the Hays Code.

而其他電影製作人則繞過《海斯法典》找到自己的出路

German director Ernst Lubitsch came to Hollywood in 1922

德國導演 Ernst Lubitsch 在 1922 年來到好萊塢

and made a successful series of witty sex comedies

透過「補償價值」策略並用譏諷代替露骨

that relied on suggestion and innuendo rather than skin.

製作了一系列成功的詼諧性愛喜劇

For many of these filmmakers, however,

然而，對於許多的電影製作人來說

the Hays Code was about to become the least of their worries.

《海斯法典》就要變成他們最不須擔心的事了

A seismic event was poised to shake up Hollywood,

一個震撼的活動準備好隨時要震驚好萊塢

and not every filmmaker of the Silent Era

而並不是每位默片時代的電影製作人的生涯

was going to come out the other side with their career intact.

都能夠完好地度過這個風波

The world was about to get its first taste of synchronous sound.

這個產業即將嘗到它的第一次同步聲道

And it tasted good... Maybe, I don't know.

而這嘗起來不錯... 大概啦，我不知道

Today, we explored the Silent Era, the first golden age of Hollywood filmmaking.

今天，我們探索了默片時代，好萊塢電影製作的第一個黃金時代

We learned about the innovations of Thomas Ince and the rise of the American film studio.

我們學習關於 Thomas Ince 的創舉及美國電影工作室興起的知識

And we discussed some of the most important Silent Era filmmakers and how their scandals,

我們也討論了默片時代一些最重要的電影製作人及他們的醜聞

both real and imagined, led Hollywood to institute industry standards

在現實及電影世界中是如何引導好萊塢去設立產業規範

governing the content of their films.

來控制電影內容

Next we'll tackle the biggest shift in the history of film yet,

接下來我們將探討電影史上最大的轉變

as movies find their voice... es...

當電影開始有了聲音...

Crash Course Film History is produced in association with PBS Digital Studios.

Crash Course Film History 是與 PBS Digital Studios 合作所製作

You can head over to their channel to check out a playlist of their latest amazing shows,

你可以前往他們的頻道看看他們撥放列表中最新的精彩的秀

like The Art Assignment, Gross Science, and PBS Infinite Series.

比如說 The Art Assignment、Gross Science 和 PBS Infinite Series

This episode of Crash Course was filmed in the Doctor Cheryl C. Kinney Studio

這一集的 Crash Course 在 Doctor Cheryl C. Kinney Studio 中拍攝

with the help of all these Industry Standards, and our amazing graphics team, is Thought Cafe.

並依靠所有產業標準及我們出色的影像團隊 Thought Cafe 的幫助