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{{short description|1916 silent Western film by William S. Hart, Reginald Barker, Clifford Smith}}
{{short description|1916 film}}
{{Use American English|date=September 2021}}
{{Use mdy dates|date=July 2019}}
{{Use mdy dates|date=July 2019}}
{{Infobox film
{{Infobox film
|name = The Aryan
| name = The Aryan
|image = Aryan poster.jpg
| image = Aryan poster.jpg
|image_size = 190px
| caption = Theatrical poster
| director = [[William S. Hart]]<br />[[Reginald Barker]]<br />Clifford Smith
|caption = Theatrical poster
|director = [[William S. Hart]]<br />[[Reginald Barker]]<br />Clifford Smith
| producer = [[Thomas H. Ince]]
|producer = [[Thomas H. Ince]]
| studio = [[Triangle Film Corporation]]
|studio = [[Triangle Film Corporation]]
| writer = [[C. Gardner Sullivan]]
| starring = [[William S. Hart]]<br />[[Bessie Love]]<br />[[Louise Glaum]]<br />[[Charles K. French]]<br />[[Gertrude Claire]]
|writer = [[C. Gardner Sullivan]]
| cinematography = [[Joseph H. August]]<ref>{{cite book |last=Love |first=Bessie |year=1977 |title=From Hollywood with Love: An Autobiography of Bessie Love |location=London |publisher=Elm Tree Books|oclc=734075937|page=148}}</ref>
|starring = [[William S. Hart]]<br />[[Bessie Love]]<br />[[Louise Glaum]]<br />[[Charles K. French]]<br />[[Gertrude Claire]]
|music =
| distributor =
| released = {{Film date|1916|04|09|U.S.}}
|cinematography = [[Joseph H. August]]<ref>{{cite book |last=Love |first=Bessie |year=1977 |title=From Hollywood with Love: An Autobiography of Bessie Love |location=London |publisher=Elm Tree Books|oclc=734075937|page=148}}</ref>
| runtime = 50 minutes; 5 [[reel#Motion picture terminology|reels]]
|editing =
|distributor =
| country = United States
| language = [[Silent film|Silent]]<br />English intertitles
|released = {{film date|1916|04|09|U.S.}}
| budget = $13,500<ref name="silentera" />
|runtime = 50 minutes; 5 [[reel#Motion picture terminology|reels]]
|country = United States
|language = [[Silent film|Silent]] (English [[intertitle]]s)
|budget = $13,500<ref name="silentera" />
|gross =
}}
}}
'''''The Aryan''''' is a 1916 American [[silent film|silent]] [[Western (genre)|Western]] [[film]] starring [[William S. Hart]], [[Gertrude Claire]], [[Charles K. French]], [[Louise Glaum]], and [[Bessie Love]].<ref name="silentera">{{cite web|url=http://www.silentera.com/PSFL/data/A/Aryan1916.html|website=Silent Era|title=Progressive Silent Film List: ''The Aryan''|last=Bennett|first=Carl|date=5 May 2012}}</ref>
'''''The Aryan''''' is a 1916 American [[silent film|silent]] [[Western (genre)|Western]] [[film]] starring [[William S. Hart]], [[Gertrude Claire]], [[Charles K. French]], [[Louise Glaum]], and [[Bessie Love]].<ref name="silentera">{{cite web|url=http://www.silentera.com/PSFL/data/A/Aryan1916.html|website=Silent Era|title=Progressive Silent Film List: ''The Aryan''|last=Bennett|first=Carl|date=5 May 2012}}</ref>
Line 26: Line 23:
[[film director|Directed]] by [[William S. Hart]] and [[film producer|produced]] by [[Thomas H. Ince]], the [[screenplay]] was written by [[C. Gardner Sullivan]].
[[film director|Directed]] by [[William S. Hart]] and [[film producer|produced]] by [[Thomas H. Ince]], the [[screenplay]] was written by [[C. Gardner Sullivan]].


Although Hart was assisted by [[Reginald Barker]] and Clifford Smith, he mostly directed the film by himself. Hart's combined salary as actor and director was $150 per week ({{Inflation|US|150|1916|r=-3|fmt=eq}}).<ref>{{cite web|first=Hal|last=Erickson|website=AllMovie Guide|title=''The Aryan'' (1916)|url=http://www.allmovie.com/movie/the-aryan-v84007|accessdate=December 20, 2014}}</ref>
Although Hart was assisted by [[Reginald Barker]] and Clifford Smith, he mostly directed the film by himself. Hart's combined salary as actor and director was $150 per week ({{Inflation|US|150|1916|r=-3|fmt=eq}}).<ref>{{cite web|first=Hal|last=Erickson|website=AllMovie Guide|title=''The Aryan'' (1916)|url=http://www.allmovie.com/movie/the-aryan-v84007|access-date=December 20, 2014}}</ref>


A partial print of the film survives in the [[Library of Congress]],<ref>{{cite web|url=https://lccn.loc.gov/93505398|title=[The Aryan—excerpts]|website=Library of Congress}}</ref><ref name="museodelcineba" /> which was restored at the [[Museo del Cine Pablo Ducrós Hicken]] in [[Buenos Aires]], [[Argentina]].<ref name="museodelcineba">{{cite web|url=https://museodelcineba.org/blog/hallazgo-y-restauracion-de-the-aryan/|title=Hallazgo y Restauración de "The Aryan"|website=Asociación de Amicos del Museo del Cine}}</ref><ref>{{cite news|url=https://www.nytimes.com/2010/05/05/movies/05metropolis.html|title=Footage Restored to Fritz Lang's ''Metropolis''|last=Rohter|first=Larry|date=May 4, 2010|newspaper=The New York Times}}</ref>
A partial print of the film survives in the [[Library of Congress]],<ref>{{cite web|url=https://lccn.loc.gov/93505398|title=[The Aryan—excerpts]|website=Library of Congress}}</ref><ref name="museodelcineba" /> which was restored at the [[Museo del Cine Pablo Ducrós Hicken]] in [[Buenos Aires]], [[Argentina]].<ref name="museodelcineba">{{cite web|url=https://museodelcineba.org/blog/hallazgo-y-restauracion-de-the-aryan/|title=Hallazgo y Restauración de "The Aryan"|website=Asociación de Amicos del Museo del Cine}}</ref><ref>{{cite news|url=https://www.nytimes.com/2010/05/05/movies/05metropolis.html|title=Footage Restored to Fritz Lang's ''Metropolis''|last=Rohter|first=Larry|date=May 4, 2010|newspaper= The New York Times}}</ref>


== Plot ==
== Plot ==
[[File:Hart-william-the-aryan-1916.jpg|thumb|left|Denton (Hart) and Mary Jane (Love).]]
[[File:Hart-william-the-aryan-1916.jpg|thumb|left|Denton (Hart) and Mary Jane (Love)]]
A hard working miner, Steve Denton (Hart), has become rich from years of [[prospecting]]. He takes his fortune and leaves to visit his ill mother, Mrs. Denton (Claire).
A hard working miner, Steve Denton (Hart), has become rich from years of [[prospecting]]. He takes his fortune and leaves to visit his ill mother, Mrs. Denton (Claire).


Line 40: Line 37:
Two years later, a [[wagon train]] of [[Mississippi]] farmers who are lost and dying in the desert appeal to Denton for help. He refuses to assist them. He is secretly visited that night by Mary Jane Garth (Love), an innocent and virtuous young woman among the migrants who bravely confronts the Indians and Mexicans.
Two years later, a [[wagon train]] of [[Mississippi]] farmers who are lost and dying in the desert appeal to Denton for help. He refuses to assist them. He is secretly visited that night by Mary Jane Garth (Love), an innocent and virtuous young woman among the migrants who bravely confronts the Indians and Mexicans.


She pleads their cause and expresses her belief that no white man would refuse to protect a woman in distress. Deeply moved, Denton is redeemed. He guides the wagon train out of the desert and then resumes his wanderings.<ref>{{cite magazine|url=https://archive.org/details/pictureplaymagaz04unse/page/n375|page=234–245|first=Will H.|last=Johnston|volume=4|issue=3|date=May 1916|magazine=Picture-Play Magazine|title=The Aryan}}</ref><ref name="motionpicturenew132unse-n839" /><ref name="motography152elec-766" />
She pleads their cause and expresses her belief that no white man would refuse to protect a woman in distress. Deeply moved, Denton is redeemed. He guides the wagon train out of the desert and then resumes his wanderings.<ref>{{cite magazine|url=https://archive.org/details/pictureplaymagaz04unse/page/n375|pages=234–245|first=Will H.|last=Johnston|volume=4|issue=3|date=May 1916|magazine=Picture-Play Magazine|title= The Aryan}}</ref><ref name="motionpicturenew132unse-n839" /><ref name="motography152elec-766" />


== Cast ==
== Cast ==
Line 55: Line 52:
* [[John Gilbert (actor)|John Gilbert]] as an extra (uncredited)
* [[John Gilbert (actor)|John Gilbert]] as an extra (uncredited)
}}
}}

===Cast notes===
Hart made these observations on his role as Steve Benton:

{{blockquote|I think the most disagreeable part I ever had was in ''The Aryan''. It was hard for me to really feel it, being that of a white man, forswearing his race, makes outlaw Mexicans his comrades and allows white women to be attacked by them. It is difficult to put all one's decent instincts aside and live and think as such a despicable character must have done. But by allowing myself only to think of the terrible wrong that the white race had done me—pure imagery—I settled into it, and I am sure [[Bessie Love]] at the time believed I was the typical brute.|"Living Your Character" in ''[[Motion Picture Magazine]]'', May 1917{{sfn|Koszarski|1976|pp=47–48}} }}


== Production ==
== Production ==
Hart was given a [[screenplay]] by the [[screenwriter]] [[C. Gardner Sullivan]] in which the hero had, according to Hart, "no motive for his hardness." He argued that the audience needed an explanation. Sullivan preferred the idea that his ruthless personality was simply a given, but eventually accepted Hart's wishes.{{cn|date=December 2019}}
Hart was given a [[screenplay]] by the [[screenwriter]] [[C. Gardner Sullivan]] in which the hero had, according to Hart, "no motive for his hardness." He argued that the audience needed an explanation. Sullivan preferred the idea that his ruthless personality was simply a given, but eventually accepted Hart's wishes.{{citation needed|date=December 2019}}


Although it was made during the silent era, Sullivan wrote long speeches for the actors to perform, which were filmed and later edited down.<ref name="csm" />
Although it was made during the silent era, Sullivan wrote long speeches for the actors to perform, which were filmed and later edited down.<ref name="csm" />
Line 66: Line 68:
The movie was made at the height of Hart's career, but was unusual because he played a ruthless individual described as "hard as flint." As the title suggests, the movie draws on racial ideologies of the era. Hart stated that the central character, Steve Denton, was "a white man, who, foreswearing his race, makes outlaw Mexicans his comrades and allows white women to be attacked by them."<ref>{{harvnb|Davis|2003|page=[https://archive.org/details/williamshartproj00davi_0/page/84 84]}}</ref>
The movie was made at the height of Hart's career, but was unusual because he played a ruthless individual described as "hard as flint." As the title suggests, the movie draws on racial ideologies of the era. Hart stated that the central character, Steve Denton, was "a white man, who, foreswearing his race, makes outlaw Mexicans his comrades and allows white women to be attacked by them."<ref>{{harvnb|Davis|2003|page=[https://archive.org/details/williamshartproj00davi_0/page/84 84]}}</ref>


The film was made at [[Thomas H. Ince#Inceville|Inceville]]<ref>{{cite magazine|url=https://archive.org/details/pictureplaymagaz05unse/page/n169|magazine=Picture-Play Magazine|page=156|title=The Picture Oracle|volume=5|issue=1|date=September 1916}}</ref> and Sulphur Canyon.<ref name="csm">{{cite magazine|title=An Aryan in Sulphur Canyon|last=Love|first=Bessie|author-link=Bessie Love|magazine=[[The Christian Science Monitor]]|date=May 9, 1962|page=8}}</ref>
The film was made at [[Thomas H. Ince#Inceville|Inceville]]<ref>{{cite magazine|url=https://archive.org/details/pictureplaymagaz05unse/page/n169|magazine=Picture-Play Magazine|page=156|title= The Picture Oracle|volume=5|issue=1|date=September 1916}}</ref> and Sulphur Canyon.<ref name="csm">{{cite magazine|title=An Aryan in Sulphur Canyon|last=Love|first=Bessie|author-link=Bessie Love|magazine=[[The Christian Science Monitor]]|date=May 9, 1962|page=8}}</ref>


== Reception ==
== Reception ==
[[File:Magazine advertisement for the film The Aryan (1916).jpg|thumb|Magazine advertisement]]
[[File:Magazine advertisement for the film The Aryan (1916).jpg|thumb|Magazine advertisement]]
Contemporaneous reviews of the film were glowingly positive.<ref name="motionpicturenew132unse-n839">{{cite magazine|url=https://archive.org/details/motionpicturenew132unse/page/n839|first=Oscar|last=Cooper|page=2064|magazine=Motion Picture News|volume=13|issue=14|date=April 8, 1916|title=Screen Examinations}}</ref><ref name="motography152elec-766">{{cite magazine|url=https://archive.org/details/motography152elec/page/766|page=766|magazine=Motography|volume=15|issue=14|date=April 1, 1916|first=Genevieve|last=Harris|title=Current Releases Reviewed}}</ref> The photography, acting, and direction were all positively reviewed.<ref name="motionpicturenew132unse-n839" /><ref name="motography152elec-766" /> Hart himself believed this movie to be "one of the best Westerns ever made."<ref>{{harvnb|Davis|2003|page=[https://archive.org/details/williamshartproj00davi_0/page/83 83]}}</ref>
Contemporaneous reviews of the film were glowingly positive.<ref name="motionpicturenew132unse-n839">{{cite magazine|url=https://archive.org/details/motionpicturenew132unse/page/n839|first=Oscar|last=Cooper|page=2064|magazine=Motion Picture News|volume=13|issue=14|date=April 8, 1916|title=Screen Examinations}}</ref><ref name="motography152elec-766">{{cite magazine|url=https://archive.org/details/motography152elec/page/766|page=766|magazine=Motography|volume=15|issue=14|date=April 1, 1916|first=Genevieve|last=Harris|title=Current Releases Reviewed}}</ref><ref>{{Cite book |url=http://archive.org/details/sim_variety_1916-03-24_42_4 |title=Variety 1916-03-24: Vol 42 Iss 4 |date=1916-03-24 |others=Internet Archive |language=English}}</ref> The photography, acting, and direction were all positively reviewed.<ref name="motionpicturenew132unse-n839" /><ref name="motography152elec-766" /> Hart himself believed this movie to be "one of the best Westerns ever made."<ref>{{harvnb|Davis|2003|page=[https://archive.org/details/williamshartproj00davi_0/page/83 83]}}</ref>


However, later assessments of the film have been critical of its treatment of race. Of the film, Andrew Brodie Smith wrote, "Racism was not new to the {{sic|western|expected=Western}} but it had never been articulated in such a sophisticated fashion."<ref>{{cite book|title=Shooting Cowboys and Indians: Silent Western Films, American Culture, and the Birth of Hollywood|first=Andrew Brodie|last=Smith|isbn=978-0-87081-746-5|location=Boulder|publisher=University Press of Colorado|page=[https://archive.org/details/shootingcowboysi00andr/page/166 166]|year=2003|url=https://archive.org/details/shootingcowboysi00andr/}}</ref> Other scholars have labeled this as "perhaps the first film to openly proclaim the doctrine of [[White supremacy]] over Native American Indians".<ref>{{cite book|chapter='Bamboozling' Stereotypes Through the 20th Century|page=[https://www.google.com/books/edition/Racism_Sexism_and_the_Media/idI5DQAAQBAJ?hl=en&gbpv=1&bsq=%22the%20first%20film%20to%20openly%20proclaim%20the%20doctrine%20of%20White%20supremacy%20over%20Native%20American%20Indians%22 69]|title=Racism, Sexism, and the Media: Multicultural Issues Into the New Communications Age|first1=Clint C., III|last1=Wilson|first2=Felix|last2=Gutierrez|first3=Lena|last3=Chao|date=2013|isbn=978-1-4522-1751-2|publisher=SAGE Publications}}</ref>
However, later assessments of the film have been critical of its treatment of race. Of the film, Andrew Brodie Smith wrote, "Racism was not new to the western but it had never been articulated in such a sophisticated fashion."<ref>{{cite book|title=Shooting Cowboys and Indians: Silent Western Films, American Culture, and the Birth of Hollywood|first=Andrew Brodie|last=Smith|isbn=978-0-87081-746-5|location=Boulder|publisher=University Press of Colorado|page=[https://archive.org/details/shootingcowboysi00andr/page/166 166]|year=2003|url=https://archive.org/details/shootingcowboysi00andr/}}</ref> Other scholars have labeled this as "perhaps the first film to openly proclaim the doctrine of [[White supremacy]] over Native American Indians".<ref>{{cite book|chapter='Bamboozling' Stereotypes Through the 20th Century|page=[https://books.google.com/books?id=idI5DQAAQBAJ&q=%22the%20first%20film%20to%20openly%20proclaim%20the%20doctrine%20of%20White%20supremacy%20over%20Native%20American%20Indians%22 69]|title=Racism, Sexism, and the Media: Multicultural Issues Into the New Communications Age|first1=Clint C. III|last1=Wilson|first2=Felix|last2=Gutierrez|first3=Lena|last3=Chao|date=2013|isbn=978-1-4522-1751-2|publisher=SAGE Publications}}</ref>


== See also ==
== See also ==
Line 83: Line 85:


;Works cited
;Works cited
* {{cite book|first=Ronald L.|last=Davis|title=William S. Hart: Projecting the American West|url=https://archive.org/details/williamshartproj00davi_0|url-access=registration|publisher=University of Oklahoma Press|year=2003|isbn=978-0-8061-3558-8|ref=harv}}
* {{cite book|first=Ronald L.|last=Davis|title=William S. Hart: Projecting the American West|url=https://archive.org/details/williamshartproj00davi_0|url-access=registration|publisher=University of Oklahoma Press|year=2003|isbn=978-0-8061-3558-8}}
* {{cite book|last=Koszarski|first=Richard|date=1976|title=Hollywood Directors: 1914–1940|publisher=Oxford University Press|lccn=76-9262}}


== External links ==
== External links ==
Line 91: Line 94:
* {{AFI film|2165}}
* {{AFI film|2165}}


{{Reginald Barker}}

{{Authority control}}
{{Authority control}}

{{DEFAULTSORT:Aryan, The}}
{{DEFAULTSORT:Aryan, The}}
[[Category:1916 films]]
[[Category:1916 films]]
[[Category:1916 Western (genre) films]]
[[Category:1916 Western (genre) films]]
[[Category:American black-and-white films]]
[[Category:American black-and-white films]]
[[Category:American films]]
[[Category:American silent feature films]]
[[Category:American Western (genre) films]]
[[Category:Films directed by William S. Hart]]
[[Category:Films directed by William S. Hart]]
[[Category:Films about race and ethnicity]]
[[Category:Films about race and ethnicity]]
[[Category:Surviving American silent films]]
[[Category:Surviving American silent films]]
[[Category:Silent American Western (genre) films]]
[[Category:1910s American films]]
[[Category:1910s English-language films]]
[[Category:English-language Western (genre) films]]

Latest revision as of 05:41, 7 September 2024

The Aryan
Theatrical poster
Directed byWilliam S. Hart
Reginald Barker
Clifford Smith
Written byC. Gardner Sullivan
Produced byThomas H. Ince
StarringWilliam S. Hart
Bessie Love
Louise Glaum
Charles K. French
Gertrude Claire
CinematographyJoseph H. August[1]
Production
company
Release date
  • April 9, 1916 (1916-04-09) (U.S.)
Running time
50 minutes; 5 reels
CountryUnited States
LanguagesSilent
English intertitles
Budget$13,500[2]

The Aryan is a 1916 American silent Western film starring William S. Hart, Gertrude Claire, Charles K. French, Louise Glaum, and Bessie Love.[2]

Directed by William S. Hart and produced by Thomas H. Ince, the screenplay was written by C. Gardner Sullivan.

Although Hart was assisted by Reginald Barker and Clifford Smith, he mostly directed the film by himself. Hart's combined salary as actor and director was $150 per week (equivalent to $4,000 in 2023).[3]

A partial print of the film survives in the Library of Congress,[4][5] which was restored at the Museo del Cine Pablo Ducrós Hicken in Buenos Aires, Argentina.[5][6]

Plot

[edit]
Denton (Hart) and Mary Jane (Love)

A hard working miner, Steve Denton (Hart), has become rich from years of prospecting. He takes his fortune and leaves to visit his ill mother, Mrs. Denton (Claire).

In the town of Yellow Ridge, however, he is detained by a seductive dance hall girl named Trixie (Glaum). Also known as "the firefly," Trixie not only cheats him out of his gold, but also conceals a message that was wired to him by his dying mother.

Learning the next day that his mother is dead, Denton is infuriated about being cheated and betrayed by Trixie, who pretended to be good, and other false friends. In his rage, he kills Trixie's lover, Chip Emmett (Mayall), and kidnaps her. Dragging her by the hair of her head, he takes her into the desert. Enslaving Trixie in his desert hideaway, Denton turns his back on "white civilization." He hates all white men and women and assumes the leadership of a band of Indian and Mexican bandits.

Two years later, a wagon train of Mississippi farmers who are lost and dying in the desert appeal to Denton for help. He refuses to assist them. He is secretly visited that night by Mary Jane Garth (Love), an innocent and virtuous young woman among the migrants who bravely confronts the Indians and Mexicans.

She pleads their cause and expresses her belief that no white man would refuse to protect a woman in distress. Deeply moved, Denton is redeemed. He guides the wagon train out of the desert and then resumes his wanderings.[7][8][9]

Cast

[edit]

Cast notes

[edit]

Hart made these observations on his role as Steve Benton:

I think the most disagreeable part I ever had was in The Aryan. It was hard for me to really feel it, being that of a white man, forswearing his race, makes outlaw Mexicans his comrades and allows white women to be attacked by them. It is difficult to put all one's decent instincts aside and live and think as such a despicable character must have done. But by allowing myself only to think of the terrible wrong that the white race had done me—pure imagery—I settled into it, and I am sure Bessie Love at the time believed I was the typical brute.

— "Living Your Character" in Motion Picture Magazine, May 1917[10]

Production

[edit]

Hart was given a screenplay by the screenwriter C. Gardner Sullivan in which the hero had, according to Hart, "no motive for his hardness." He argued that the audience needed an explanation. Sullivan preferred the idea that his ruthless personality was simply a given, but eventually accepted Hart's wishes.[citation needed]

Although it was made during the silent era, Sullivan wrote long speeches for the actors to perform, which were filmed and later edited down.[11]

Love as Mary Jane Garth

Hart wanted Mae Marsh for the role as Mary Jane, but Marsh was working on a D. W. Griffith movie at the time. Griffith recommended a new actress, Bessie Love.[12]

The movie was made at the height of Hart's career, but was unusual because he played a ruthless individual described as "hard as flint." As the title suggests, the movie draws on racial ideologies of the era. Hart stated that the central character, Steve Denton, was "a white man, who, foreswearing his race, makes outlaw Mexicans his comrades and allows white women to be attacked by them."[13]

The film was made at Inceville[14] and Sulphur Canyon.[11]

Reception

[edit]
Magazine advertisement

Contemporaneous reviews of the film were glowingly positive.[8][9][15] The photography, acting, and direction were all positively reviewed.[8][9] Hart himself believed this movie to be "one of the best Westerns ever made."[16]

However, later assessments of the film have been critical of its treatment of race. Of the film, Andrew Brodie Smith wrote, "Racism was not new to the western but it had never been articulated in such a sophisticated fashion."[17] Other scholars have labeled this as "perhaps the first film to openly proclaim the doctrine of White supremacy over Native American Indians".[18]

See also

[edit]

References

[edit]
Citations
  1. ^ Love, Bessie (1977). From Hollywood with Love: An Autobiography of Bessie Love. London: Elm Tree Books. p. 148. OCLC 734075937.
  2. ^ a b Bennett, Carl (May 5, 2012). "Progressive Silent Film List: The Aryan". Silent Era.
  3. ^ Erickson, Hal. "The Aryan (1916)". AllMovie Guide. Retrieved December 20, 2014.
  4. ^ "[The Aryan—excerpts]". Library of Congress.
  5. ^ a b "Hallazgo y Restauración de "The Aryan"". Asociación de Amicos del Museo del Cine.
  6. ^ Rohter, Larry (May 4, 2010). "Footage Restored to Fritz Lang's Metropolis". The New York Times.
  7. ^ Johnston, Will H. (May 1916). "The Aryan". Picture-Play Magazine. Vol. 4, no. 3. pp. 234–245.
  8. ^ a b c Cooper, Oscar (April 8, 1916). "Screen Examinations". Motion Picture News. Vol. 13, no. 14. p. 2064.
  9. ^ a b c Harris, Genevieve (April 1, 1916). "Current Releases Reviewed". Motography. Vol. 15, no. 14. p. 766.
  10. ^ Koszarski 1976, pp. 47–48.
  11. ^ a b Love, Bessie (May 9, 1962). "An Aryan in Sulphur Canyon". The Christian Science Monitor. p. 8.
  12. ^ Hart, William (1929). My Life – East and West. Houghton Mifflin Company. p. 220.
  13. ^ Davis 2003, p. 84
  14. ^ "The Picture Oracle". Picture-Play Magazine. Vol. 5, no. 1. September 1916. p. 156.
  15. ^ Variety 1916-03-24: Vol 42 Iss 4. Internet Archive. March 24, 1916.{{cite book}}: CS1 maint: others (link)
  16. ^ Davis 2003, p. 83
  17. ^ Smith, Andrew Brodie (2003). Shooting Cowboys and Indians: Silent Western Films, American Culture, and the Birth of Hollywood. Boulder: University Press of Colorado. p. 166. ISBN 978-0-87081-746-5.
  18. ^ Wilson, Clint C. III; Gutierrez, Felix; Chao, Lena (2013). "'Bamboozling' Stereotypes Through the 20th Century". Racism, Sexism, and the Media: Multicultural Issues Into the New Communications Age. SAGE Publications. p. 69. ISBN 978-1-4522-1751-2.
Works cited
[edit]
  • The Aryan at IMDb
  • ‹The template AllMovie title is being considered for deletion.› The Aryan at AllMovie
  • The Aryan at the AFI Catalog of Feature Films