{"product_id":"london-after-midnight-a-new-reconstruction-based-on-contemporary-sources-softcover-edition-by-thomas","title":"LONDON AFTER MIDNIGHT: A NEW RECONSTRUCTION BASED ON CONTEMPORARY SOURCES (SOFTCOVER EDITION) by Thomas Mann","description":"\u003cp\u003e\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\u003cstyle\u003e\n\u003c!--\n \/* Font Definitions *\/\n@font-face\n\t{font-family:Arial;\n\tpanose-1:2 11 6 4 2 2 2 2 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536859905 -1073711037 9 0 511 0;}\n@font-face\n\t{font-family:\"Cambria Math\";\n\tpanose-1:2 4 5 3 5 4 6 3 2 4;\n\tmso-font-charset:1;\n\tmso-generic-font-family:roman;\n\tmso-font-format:other;\n\tmso-font-pitch:variable;\n\tmso-font-signature:0 0 0 0 0 0;}\n@font-face\n\t{font-family:Calibri;\n\tpanose-1:2 15 5 2 2 2 4 3 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536870145 1073786111 1 0 415 0;}\n \/* Style Definitions *\/\np.MsoNormal, li.MsoNormal, div.MsoNormal\n\t{mso-style-unhide:no;\n\tmso-style-qformat:yes;\n\tmso-style-parent:\"\";\n\tmargin:0in;\n\tmargin-bottom:.0001pt;\n\tmso-pagination:widow-orphan;\n\tfont-size:12.0pt;\n\tfont-family:Calibri;\n\tmso-ascii-font-family:Calibri;\n\tmso-ascii-theme-font:minor-latin;\n\tmso-fareast-font-family:Calibri;\n\tmso-fareast-theme-font:minor-latin;\n\tmso-hansi-font-family:Calibri;\n\tmso-hansi-theme-font:minor-latin;\n\tmso-bidi-font-family:\"Times New Roman\";\n\tmso-bidi-theme-font:minor-bidi;}\n.MsoChpDefault\n\t{mso-style-type:export-only;\n\tmso-default-props:yes;\n\tfont-family:Calibri;\n\tmso-ascii-font-family:Calibri;\n\tmso-ascii-theme-font:minor-latin;\n\tmso-fareast-font-family:Calibri;\n\tmso-fareast-theme-font:minor-latin;\n\tmso-hansi-font-family:Calibri;\n\tmso-hansi-theme-font:minor-latin;\n\tmso-bidi-font-family:\"Times New Roman\";\n\tmso-bidi-theme-font:minor-bidi;}\n@page WordSection1\n\t{size:8.5in 11.0in;\n\tmargin:1.0in 1.0in 1.0in 1.0in;\n\tmso-header-margin:.5in;\n\tmso-footer-margin:.5in;\n\tmso-paper-source:0;}\ndiv.WordSection1\n\t{page:WordSection1;}\n--\u003e\n\u003c\/style\u003e\r\n\r\n\r\n\r\n\r\n\r\n\r\n\u003c\/p\u003e\u003cp class=\"MsoNormal\" style=\"mso-pagination:none;mso-layout-grid-align:none;\ntext-autospace:none\"\u003e\u003cspan style='font-family:\"Times New Roman\"'\u003eTod Browning’s\r\nsilent movie horror film, \u003ci\u003eLondon After Midnight\u003c\/i\u003e (1927) starring Lon\r\nChaney, Marceline Day, Conrad Nagel, Henry B. Walthall, and Polly Moran, has\r\nintrigued silent movie fans for decades. Now considered a lost film, surviving\r\nproduction stills, a Photoplay Edition novel, scripts, and other memorabilia\r\ngive some feel for the actual film, but their varying plot gaps, anomalies, and\r\ninconsistencies leave viewers wondering how the actual film unfolded . . .\r\nuntil now.\u003c\/span\u003e\u003cspan style=\"font-family:Arial\"\u003e\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp class=\"MsoNormal\" style=\"mso-pagination:none;mso-layout-grid-align:none;\ntext-autospace:none\"\u003e\u003cspan style='font-family:\"Times New Roman\"'\u003e \u003c\/span\u003e\u003cspan style=\"font-family:Arial\"\u003e\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp class=\"MsoNormal\" style=\"mso-pagination:none;mso-layout-grid-align:none;\ntext-autospace:none\"\u003e\u003cspan style='font-family:\"Times New Roman\"'\u003eAuthor Thomas\r\nMann offers a fascinating reconstruction based on his transcription of a\r\nrediscovered 11,000-word fictionization first published in \u003ci\u003eBoy’s Cinema\u003c\/i\u003e\r\n(1928) that may resolve the conflicts between previous versions. His detailed\r\ncomparison of all surviving sources sheds new light on the discovery of a\r\nsecond murder victim, a plot element not in the final film; Lon Chaney’s two\r\ndifferent makeups in playing detective Edward C. Burke; Henry Walthall as Sir\r\nJames Hamlin holding two guns rather than one in the scene in which his\r\ncharacter, under hypnosis, re-enacts a crime.\u003c\/span\u003e\u003cspan style=\"font-family:\nArial\"\u003e\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp class=\"MsoNormal\" style=\"mso-pagination:none;mso-layout-grid-align:none;\ntext-autospace:none\"\u003e\u003cspan style='font-family:\"Times New Roman\"'\u003e \u003c\/span\u003e\u003cspan style=\"font-family:Arial\"\u003e\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp class=\"MsoNormal\" style=\"mso-pagination:none;mso-layout-grid-align:none;\ntext-autospace:none\"\u003e\u003cspan style='font-family:\"Times New Roman\"'\u003eThe last known\r\nfilm print is believed to have been destroyed in a 1967 MGM vault fire, but you\r\ncan now take a front row seat into the haunted mansion filled with vampires,\r\ncobwebs, bats, and “The Man of a Thousand Faces.”  \u003c\/span\u003e\u003cspan style=\"font-family:Arial\"\u003e\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp class=\"MsoNormal\" style=\"mso-pagination:none;mso-layout-grid-align:none;\ntext-autospace:none\"\u003e\u003cspan style='font-family:\"Times New Roman\"'\u003e \u003c\/span\u003e\u003cspan style=\"font-family:Arial\"\u003e\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp class=\"MsoNormal\" style=\"mso-pagination:none;mso-layout-grid-align:none;\ntext-autospace:none\"\u003e\u003cspan style='font-family:\"Times New Roman\"'\u003eAbout the\r\nauthor: Thomas Mann is an independent scholar living in Washington, DC. \r\nHe spent more than three decades as a general reference librarian at the\r\nLibrary of Congress. He is the author of \u003ci\u003eThe Oxford Guide to Library\r\nResearch\u003c\/i\u003e (Oxford University Press, 2015) and of \u003ci\u003eHorror \u0026amp; Mystery\r\nPhotoplay Editions and Magazine Fictionizations\u003c\/i\u003e (McFarland, 2004; vol. II,\r\nBearManor Media, 2016).\u003c\/span\u003e\u003c\/p\u003e\u003chr\u003e\u003cp class=\"MsoNormal\"\u003e\u003cspan style='font-family:Arial;mso-fareast-font-family:\"Times New Roman\"'\u003e\"It\r\nis an intriguing work of literary-filmic archeology. In \u003cspan style=\"font-style: italic;\"\u003eLondon After Midnight:\r\nA New Reconstruction Based on Contemporary Sources\u003c\/span\u003e, Mann offers a reconstruction\r\nbased on his transcription of a rediscovered 11,000-word fictionalization of\r\nthe film published in \u003cspan style=\"font-style: italic;\"\u003eBoy’s Cinema\u003c\/span\u003e, an English publication, a year after the\r\nfilm was released. Mann’s detailed comparison of surviving sources sheds new\r\nlight on various “unsettling” aspects of the film, like the discovery of a\r\nsecond murder victim, a plot element not in the final film. Mann’s\r\ntranscription of the story is included in the new book.\"\u003c\/span\u003e\u003cspan style=\"font-family:Arial;mso-fareast-font-family:PMingLiU\"\u003e\u003cbr\u003e\r\n\u003c\/span\u003e\u003cspan style=\"font-style: italic;\"\u003e\u003cspan style='font-family:Arial;mso-fareast-font-family:\"Times New Roman\"'\u003e-\r\nThomas Gladysz, The Huffington Post\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003chr\u003e\u003cp class=\"MsoNormal\"\u003eHow may the plot of a lost film be ascertained, when the existing \r\nwritten sources conflict?  That’s the conundrum addressed in London \r\nAfter Midnight:  A New Reconstruction Based on Contemporary \r\nSources—focusing on the much sought-after Lon Chaney vehicle directed by\r\n Tod Browning.  No one could be more qualified to explore this question \r\nthan Library of Congress scholar Thomas Mann, author of two volumes \r\nstudying tie-in books and magazine fictionizations in the horror and \r\nmystery genre, Horror \u0026amp; Mystery Photoplay Editions and Magazine \r\nFictionizations, Vol. 1 (2004), Vol. II (2016) – and also The Oxford \r\nGuide to Library Research, now in its fourth edition.\u003cbr\u003e\u003cbr\u003eThe last \r\nprint of London After Midnight was destroyed in the early 1960s.  The \r\ninterest in London After Midnight remain so great, over fifty years \r\nafter it was last seen, that TCM even attempted a reconstruction using \r\ncreatively photographed stills.\u003cbr\u003e\u003cbr\u003eThe core of the problem, as Mann \r\ndelineates, is that surviving scripts, reviews, summaries of the \r\nplot--even published versions---all not only differ, but are \r\nincompatible.  The TCM reconstruction of London After Midnight used one \r\nversion, and almost certainly differed substantially in its outline from\r\n the original.\u003cbr\u003e\u003cbr\u003eWhat makes this volume essential for any Chaney, \r\nBrowning, genre enthusiast, or student of silent film, is that Mann \r\nintroduces into new evidence:  a magazine fictionization of London After\r\n Midnight hitherto buried in the pages of unindexed magazines.  This \r\nfictionization (itself some twenty pages of this book) was in a regular \r\nmagazine that provided the “stories” of movies for fans of the day, and \r\nprovides the most coherent outline of the plot that has survived.  \r\nPlacing the magazine versions along with the plot outlines from other \r\nsources provides an important example of how lost films may be studied.\u003cbr\u003e\u003cbr\u003eLondon\r\n After Midnight will likely remain a lost film, but with this book the \r\nreader is closer than ever before to the experience of seeing the film, \r\nand Mann has provided a model of scholarship in using such primary \r\nmaterials, often contradictory, to reconstruct a major instance of movie\r\n going from long ago.  The concept of silent film restorations has \r\nhitherto focused on visual materials; in this volume, Mann enlarges the \r\nscope of that endeavor to written materials and, most importantly, how \r\nthey may be utilized even when they are problematic and conflicting. \u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-style: italic;\"\u003e-- Brian Taves\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\r\n\u003chr\u003e\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-style: italic;\"\u003e\u003cspan style='font-family:Arial;mso-fareast-font-family:\"Times New Roman\"'\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family:Arial\"\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\" style=\"mso-pagination:none;mso-layout-grid-align:none;\ntext-autospace:none\"\u003e\u003cspan style='font-family:\"Times New Roman\"'\u003e\u003c\/span\u003e\u003cspan style=\"font-family:Arial\"\u003e\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family:Arial\"\u003e \u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\r\n","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":43222449782846,"sku":"dlx1787291541949","price":13.8,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/0075\/8846\/files\/london-after-midnight-a-new-reconstruction-based-on-contemporary-sources-softcov_1.jpg?v=1787291547","url":"https:\/\/urbanglamboutique.shop\/products\/london-after-midnight-a-new-reconstruction-based-on-contemporary-sources-softcover-edition-by-thomas","provider":"My Store","version":"1.0","type":"link"}