Abstract
A richly composite craft, film is arguably the most comparative of art forms, drawing its artisans and inspiration from across political and linguistic boundaries. Born mute, it early had to learn what was supposed to be a universal syntax of visual narration. A frankly machine art, it early discovered how to adapt the devices of a congeries of technical skills and traditional modes of popular entertainment to the will of a director, who sought to enlist one crowd-the crew-in the interests of captivating a much larger, invisible crowd-the audience. The machine and its masters, a polyglot assemblage, had a product that could command an international market. Thus, when that archetypcal American original Cecille B. DeMille broached the frontier town of Hollywood in December 1912, he had a co-director named Oscar Apfel and a cameraman named Alfredo Gandolfi in his company; and, crucial to the birth of what was to become the studio system, he joined
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