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The cinema of the United States, also known as Hollywood, has had a profound effect on cinema across the world since the early 20th century. Its history is sometimes separated into four main periods: the silent film era, classical Hollywood cinema, New Hollywood, and the contemporary period. While the Lumiere Brothers are generally credited with the birth of modern cinema, it is undisputably American cinema that soon became the most dominant force in an emerging industry. Since the 1920s, the American film industry has grossed more money every year than that of any other country.

In 1878, Eadweard Muybridge demonstrated the power of photography to capture motion. In 1894, the world's first commercial motion picture exhibition was given in New York City, using Thomas Edison's Kinetoscope. The United States was in the forefront of sound film development in the following decades. Since the early 20th century, the U.S. film industry has largely been based in and around Hollywood, Los Angeles, California. Picture City, FL was also a planned site for a movie picture production center in the 1920s, but due to the 1928 Okeechobee hurricane, the idea collapsed and Picture City returned to its original name of Hobe Sound. Director D. W. Griffith was central to the development of film grammar. Orson Welles's Citizen Kane (1941) is frequently cited in critics' polls as the greatest film of all time.^[1] American screen actors like John Wayne and Marilyn Monroe have become iconic figures, while producer/entrepreneur Walt Disney was a leader in both animated film and movie merchandising. The major film studios of Hollywood are the primary source of the most commercially successful movies in the world, such as Gone with the Wind (1939), Star Wars (1977), Titanic (1997), and Avatar (2009). Today, American film studios collectively generate several hundred movies every year, making the United States the third most prolific producer of films in the world — the first being India and the second being Nigeria.^[2]

History[link]

Origins[link]

The second recorded instance of photographs capturing and reproducing motion was a series of photographs of a running horse by Eadweard Muybridge, which he captured in Palo Alto, California, using a set of still cameras placed in a row. Muybridge's accomplishment led inventors everywhere to attempt to make similar devices that would capture such motion. In the United States, Thomas Edison was among the first to produce such a device, the kinetoscope, whose heavy-handed patent enforcement caused early filmmakers to look for alternatives.

In the earliest days of the American film industry, New York played a role. The Kaufman Astoria Studios in Queens, built during the silent film era, was used by the Marx Brothers and W.C. Fields. Chelsea, Manhattan was also frequently used. Mary Pickford, an Academy Award winning actress, shot some of her early films in this area. Other major centers of film production also included Chicago, Florida, California, and Cuba.

The film patents wars of the early 20th century led to the spread of film companies across the U.S. Many worked with equipment for which they did not own the rights, and thus filming in New York could be dangerous; it was close to Edison's Company headquarters, and to agents the company set out to seize cameras. By 1912, most major film companies had set up production facilities in Southern California near or in Los Angeles because of the location's proximity to Mexico, as well as the region's favorable year-round weather.^[3]

Rise of Hollywood[link]

Cinema of the United States
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2010s
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In early 1910, director D.W. Griffith was sent by the Biograph Company to the west coast with his acting troupe, consisting of actors Blanche Sweet, Lillian Gish, Mary Pickford, Lionel Barrymore, and others. They started filming on a vacant lot near Georgia Street in downtown Los Angeles. While there, the company decided to explore new territories, traveling several miles north to Hollywood, a little village that was friendly and enjoyed the movie company filming there. Griffith then filmed the first movie ever shot in Hollywood, In Old California, a Biograph melodrama about California in the 19th century, when it belonged to Mexico. Biograph stayed there for months and made several films before returning to New York. After hearing about Biograph's success in Hollywood, in 1913 many movie-makers headed west to avoid the fees imposed by Thomas Edison, who owned patents on the movie-making process.^[4] In Los Angeles, California, the studios and Hollywood grew. Before World War I, movies were made in several U.S. cities, but filmmakers gravitated to southern California as the industry developed. They were attracted by the mild climate and reliable sunlight, which made it possible to film movies outdoors year-round, and by the varied scenery that was available. There are several starting points for cinema (particularly American cinema), but it was Griffith's controversial 1915 epic Birth of a Nation that pioneered the worldwide filming vocabulary that still dominates celluloid to this day.

In the early 20th century, when the medium was new, many Jewish immigrants found employment in the U.S. film industry. They were able to make their mark in a brand-new business: the exhibition of short films in storefront theaters called nickelodeons, after their admission price of a nickel (five cents). Within a few years, ambitious men like Samuel Goldwyn, William Fox, Carl Laemmle, Adolph Zukor, Louis B. Mayer, and the Warner Brothers (Harry, Albert, Samuel, and Jack) had switched to the production side of the business. Soon they were the heads of a new kind of enterprise: the movie studio. (It is worth noting that the US had at least one female director, producer and studio head in these early years, Alice Guy-Blaché.) They also set the stage for the industry's internationalism; the industry is often accused of Amero-centric provincialism.

Other moviemakers arrived from Europe after World War I: directors like Ernst Lubitsch, Alfred Hitchcock, Fritz Lang, and Jean Renoir; and actors like Rudolph Valentino, Marlene Dietrich, Ronald Colman, and Charles Boyer. They joined a homegrown supply of actors — lured west from the New York City stage after the introduction of sound films — to form one of the 20th century's most remarkable growth industries. At motion pictures' height of popularity in the mid-1940s, the studios were cranking out a total of about 400 movies a year, seen by an audience of 90 million Americans per week [1].

Sound also became widely used in Hollywood in the late 1920s [2]. After The Jazz Singer, the first film with synchronized voices, was successfully released as a Vitaphone talkie in 1927, Hollywood film companies would respond to Warner Bros. and begin to use Vitaphone sound — which Warner Bros. owned until 1928 - in future films. By May 1928, Electrical Research Product Incorporated (ERPI), a subsidiary of the Western Electric company, gained a monopoly over film sound distribution [3]. A side effect of the "talkies" was that many actors who had made their careers in silent films suddenly found themselves out of work, as they often had bad voices or could not remember their lines. Meanwhile, in 1922, US politician Will H. Hays left politics and formed the movie studio boss organization known as the Motion Pictures Distributors Association of America (MPDAA) [4]. The organization became the Motion Picture Association of America after Hays retired in 1945.

In the early times of talkies, American studios found that their sound productions were rejected in foreign-language markets and even among speakers of other dialects of English. The synchronization technology was still too primitive for dubbing. One of the solutions was creating parallel foreign-language versions of Hollywood films. Around 1930, the American companies opened a studio in Joinville-le-Pont, France, where the same sets and wardrobe and even mass scenes were used for different time-sharing crews. Also, foreign unemployed actors, playwrights and winners of photogenia contests were chosen and brought to Hollywood, where they shot parallel versions of the English-language films. These parallel versions had a lower budget, were shot at night and were directed by second-line American directors who did not speak the foreign language. The Spanish-language crews included people like Luis Buñuel, Enrique Jardiel Poncela, Xavier Cugat and Edgar Neville. The productions were not very successful in their intended markets, due to the following reasons:

• The lower budgets were apparent.
• Many theater actors had no previous experience in cinema.
• The original movies were often second-rate themselves, since studios expected that the top productions would sell by themselves.
• The mix of foreign accents (Castilian, Mexican, and Chilean for example in the Spanish case) was odd for the audiences.
• Some markets lacked sound-equipped theaters.

In spite of this, some productions like the Spanish version of Dracula compare favorably with the original. By the mid-1930s, synchronization had advanced enough for dubbing to become usual.

Golden Age of Hollywood[link]

Golden Age of Hollywood. 1st row, l-r: Greta Garbo, Humphrey Bogart, Lauren Bacall, Clark Gable, Katharine Hepburn, Fred Astaire, Ginger Rogers, Marlon Brando, Marx Brothers, Joan Crawford. 2nd row, l-r: John Wayne, James Stewart, Buster Keaton, Claudette Colbert, Gene Kelly, Burt Lancaster, Judy Garland, Gregory Peck, Elizabeth Taylor, Kirk Douglas. 3rd row, l-r: Bette Davis, Audrey Hepburn, Jean Harlow, Alfred Hitchcock, John Ford, Howard Hawks and Lauren Bacall, Grace Kelly, Laurence Olivier, Marlene Dietrich, James Cagney. 4th row, l-r: Ava Gardner, Cary Grant, Ingrid Bergman, Henry Fonda, Marilyn Monroe, James Dean, Orson Welles, Mae West, William Holden, Sophia Loren. 5th row, l-r: Vivien Leigh, Joan Fontaine and Gary Cooper, Spencer Tracy, Barbara Stanwyck, Lillian Gish, Tyrone Power, Shirley Temple, Janet Leigh and Charlton Heston, Rita Hayworth, Mary Pickford.

During the so-called Golden Age of Hollywood, which lasted from the end of the silent era in American cinema in the late 1920s to the early 1960s, thousands of movies were issued from the Hollywood studios. The start of the Golden Age was arguably when The Jazz Singer was released in 1927, ending the silent era and increasing box-office profits for films as sound was introduced to feature films. Most Hollywood pictures adhered closely to a formula - Western, slapstick comedy, musical, animated cartoon, biopic (biographical picture) - and the same creative teams often worked on films made by the same studio. For example, Cedric Gibbons and Herbert Stothart always worked on MGM films, Alfred Newman worked at 20th Century Fox for twenty years, Cecil B. De Mille's films were almost all made at Paramount, and director Henry King's films were mostly made for 20th Century Fox.

At the same time, one could usually guess which studio made which film, largely because of the actors who appeared in it; MGM, for example, claimed it had contracted "more stars than there are in heaven." Each studio had its own style and characteristic touches which made it possible to know this — a trait that does not exist today. For example, To Have and Have Not (1944) is famous not only for the first pairing of actors Humphrey Bogart (1899–1957) and Lauren Bacall (1924–) but also for being written by two future winners of the Nobel Prize in Literature: Ernest Hemingway (1899–1961), the author of the novel on which the script was nominally based, and William Faulkner (1897–1962), who worked on the screen adaptation.

After The Jazz Singer was released in 1927, Warner Bros. gained huge success and were able to acquire their own string of movie theaters, after purchasing Stanley Theaters and First National Productions in 1928. MGM had also owned the Loews string of theaters since forming in 1924, and the Fox Film Corporation owned the Fox Theatre strings as well. Also, RKO (a 1928 merger between Keith-Orpheum Theaters and the Radio Corporation of America^[5]) responded to the Western Electric/ERPI monopoly over sound in films, and developed their own method, known as Photophone, to put sound in films [5]. Paramount, which already acquired Balaban and Katz in 1926, would answer to the success of Warner Bros. and RKO, and buy a number of theaters in the late 1920s as well, and would hold a monopoly on theaters in Detroit, Michigan.^[6] By the 1930s, all of America's theaters were owned by the Big Five studios - MGM, Paramount Pictures, RKO, Warner Bros., and 20th Century Fox. [6].

Movie-making was still a business however, and motion picture companies made money by operating under the studio system. The major studios kept thousands of people on salary — actors, producers, directors, writers, stunt men, craftspersons, and technicians. They owned or leased Movie Ranches in rural Southern California for location shooting of westerns and other large scale genre films. And they owned hundreds of theaters in cities and towns across the nation, theaters that showed their films and that were always in need of fresh material.

In 1930, MPDAA President Will Hays created the Hays (Production) Code, which followed censorship guidelines and went into effect after government threats of censorship expanded by 1930 [7]. However, the code was never enforced until 1934, after the Catholic watchdog organization The Legion of Decency - appalled by some of the provocative films and lurid advertising of the era later classified Pre-Code Hollywood- threatened a boycott of motion pictures if it didn't go into effect [8]. Those films that didn't obtain a seal of approval from the Production Code Administration had to pay a $25,000.00 fine and could not profit in the theaters, as the MPDAA owned every theater in the country through the Big Five studios [9].

Throughout the 1930s, as well as most of the golden age, MGM dominated the film screen and had the top stars in Hollywood, and was also credited for creating the Hollywood star system altogether [10]. Some MGM stars included "King of Hollywood" Clark Gable, Lionel Barrymore, Jean Harlow, Norma Shearer, Greta Garbo, Joan Crawford, Jeanette MacDonald and husband Gene Raymond, Spencer Tracy, Judy Garland, and Gene Kelly [11]. But MGM did not stand alone. Another great achievement of US cinema during this era came through Walt Disney's animation company. In 1937, Disney created the most successful film of its time, Snow White and the Seven Dwarfs [12]. This distinction was promptly topped in 1939 when Selznick International created what is still, when adjusted for inflation, the most successful film of all time, Gone with the Wind [13].

Many film historians have remarked upon the many great works of cinema that emerged from this period of highly regimented film-making. One reason this was possible is that, with so many movies being made, not every one had to be a big hit. A studio could gamble on a medium-budget feature with a good script and relatively unknown actors: Citizen Kane, directed by Orson Welles (1915–1985) and often regarded as the greatest film of all time, fits that description. In other cases, strong-willed directors like Howard Hawks (1896–1977), Alfred Hitchcock (1899–1980) and Frank Capra (1897–1991) battled the studios in order to achieve their artistic visions. The apogee of the studio system may have been the year 1939, which saw the release of such classics as The Wizard of Oz, Gone with the Wind, Stagecoach, Mr. Smith Goes to Washington, Wuthering Heights, Only Angels Have Wings, Ninotchka, and Midnight. Among the other films from the Golden Age period that are now considered to be classics: Casablanca, It's a Wonderful Life, It Happened One Night, the original King Kong, Mutiny on the Bounty, Top Hat, City Lights, Red River, The Lady from Shanghai, Rear Window, Some Like It Hot and The Manchurian Candidate.

Decline of the studio system[link]

The studio system and the Golden Age of Hollywood succumbed to two forces that developed in the late 1940s:

• a federal antitrust action that separated the production of films from their exhibition; and
• the advent of television.

In 1938, Walt Disney's Snow White and the Seven Dwarfs was released during a run of lackluster films from the major studios, and quickly became the highest-grossing film released to that point. Embarrassingly for the studios, it was an independently produced animated film that did not feature any studio-employed stars.^[7] This stoked already widespread frustration at the practice of block-booking, in which studios would only sell an entire year's schedule of films at a time to theaters and use the lock-in to cover for releases of mediocre quality. Assistant Attorney General Thurman Arnold—a noted "trust buster" of the Roosevelt administration — took this opportunity to initiate proceedings against the eight largest Hollywood studios in July 1938 for violations of the Sherman Anti-Trust Act.^[8][9] The federal suit resulted in five of the eight studios (the "Big Five": Warner Bros., MGM, Fox, RKO and Paramount) reaching a compromise with Arnold in October 1940 and signing a consent decree agreeing to, within three years:

• Eliminate the block-booking of short film subjects, in an arrangement known as "one shot", or "full force" block-booking.
• Eliminate the block-booking of any more than five features in their theaters.
• No longer engage in blind buying (or the buying of films by theater districts without seeing films beforehand) and instead have trade-showing, in which all 31 theater districts in US would see films every two weeks before showing movies in theaters.
• Set up an administration board in each theater district to enforce these requirements.^[8]

The "Little Three" (Universal Studios, United Artists, and Columbia Pictures), who did not own any theaters, refused to participate in the consent decree.^[8][9] A number of independent film producers were also unhappy with the compromise and formed a union known as the Society of Independent Motion Picture Producers and sued Paramount for the monopoly they still had over the Detroit Theaters — as Paramount was also gaining dominance through actors like Bob Hope, Paulette Goddard, Veronica Lake, Betty Hutton, crooner Bing Crosby, Alan Ladd, and longtime actor for studio Gary Cooper too- by 1942. The Big Five studios didn't meet the requirements of the Consent of Decree during WWII, without major consequence, but after the war ended they joined Paramount as defendants in the Hollywood anti-trust case, as did the Little Three studios [14]. The Supreme Court eventually ruled that the major studios ownership of theaters and film distribution was a violation of the Sherman Antitrust Act. As a result, the studios began to release actors and technical staff from their contracts with the studios. This changed the paradigm of film making by the major Hollywood studios, as each could have an entirely different cast and creative team.

The decision resulted in the gradual loss of the characteristics which made MGM, Paramount, Universal, Columbia, RKO, and Fox films immediately identifiable. Certain movie people, such as Cecil B. DeMille, either remained contract artists till the end of their careers or used the same creative teams on their films, so that a DeMille film still looked like one whether it was made in 1932 or 1956. Also, the number of movies being produced annually dropped as the average budget soared, marking a major change in strategy for the industry. Studios now aimed to produce entertainment that could not be offered by television: spectacular, larger-than-life productions. Studios also began to sell portions of their theatrical film libraries to other companies to sell to television. By 1949, all major film studios had given up ownership of their theaters.

Television was also instrumental in the decline of Hollywood's Golden Age as it broke the movie industry's hegemony in American entertainment. Despite this, the film industry was also able to gain some leverage for future films as longtime government censorship faded in the 1950s. After the Paramount anti-trust case ended, Hollywood movie studios no longer owned theaters, and thus made it so foreign films could be released in American theaters without censorship. This was complemented with the 1952 Miracle Decision in the Joseph Burstyn Inc. v Wilson case, in which the Supreme Court of the United States reversed its earlier position, from 1915's Mutual Film Corporation v. Industrial Commission of Ohio case, and stated that motion pictures were a form of art and were entitled to the protection of the First amendment; US laws could no longer censor films. By 1968, with film studios becoming increasingly defiant to its censorship function, the Motion Picture Association of America (MPAA) had replaced the Hays Code–which was now greatly violated after the government threat of censorship that justified the origin of the code had ended—with the film rating system.

New Hollywood and post-classical cinema[link]

Post-classical cinema is a term used to describe the changing methods of storytelling in the New Hollywood. It has been argued that new approaches to drama and characterization played upon audience expectations acquired in the classical period: chronology may be scrambled, storylines may feature "twist endings", and lines between the antagonist and protagonist may be blurred. The roots of post-classical storytelling may be seen in film noir, in Rebel Without a Cause (1955), and in Hitchcock's storyline-shattering Psycho.

'New Hollywood' is a term used to describe the emergence of a new generation of film school-trained directors who had absorbed the techniques developed in Europe in the 1960s; The 1967 film Bonnie and Clyde marked the beginning of American cinema rebounding as well, as a new generation of films would afterwards gain success at the box offices as well [15]. Filmmakers like Francis Ford Coppola, George Lucas, Martin Scorsese, Roman Polanski, and William Friedkin came to produce fare that paid homage to the history of film, and developed upon existing genres and techniques. In the early 1970s, their films were often both critically acclaimed and commercially successful. While the early New Hollywood films like Bonnie and Clyde and Easy Rider had been relatively low-budget affairs with amoral heroes and increased sexuality and violence, the enormous success enjoyed by Friedkin with The Exorcist, Spielberg with Jaws, Coppola with The Godfather and Apocalypse Now, Scorsese with Taxi Driver and Lucas with American Graffiti, and Star Wars, respectively helped to give rise to the modern "blockbuster", and induced studios to focus ever more heavily on trying to produce enormous hits.^[10]

The increasing indulgence of these young directors did not help.^{[citation needed]} Often,^[when?] they’d go overschedule, and overbudget, thus bankrupting themselves or the studio.^{[citation needed]} The three most famous examples of this are Francis Coppola’s Apocalypse Now and One From The Heart and particularly Michael Cimino’s Heaven’s Gate, which single-handedly bankrupted United Artists. However, Coppola’s Apocalypse Now eventually made its money back and gained widespread recognition as a masterpiece.^[11]

Rise of the home video market[link]

The 1980s and 1990s saw another significant development. The full acceptance of home video by studios opened a vast new business to exploit. Films such as Showgirls, The Secret of NIMH and The Shawshank Redemption, which performed poorly in their theatrical run, were now able to find success in the video market. It also saw the first generation of film makers with access to video tapes emerge. Directors such as Quentin Tarantino and P.T. Anderson had been able to view thousands of films and produced films with vast numbers of references and connections to previous works. This, along with the explosion of independent film and ever-decreasing costs for filmmaking, changed the landscape of American movie-making once again, and led a renaissance of filmmaking among Hollywood's lower and middle-classes—those without access to studio financial resources. With the rise of the DVD in the 21st century, DVDs have quickly become even more profitable to studios and have led to an explosion of packaging extra scenes, extended versions, and commentary tracks with the films.

Modern cinema[link]

Some of Hollywood's blockbuster action heroes from the 1980s and 1990s: From left: (top row) Sylvester Stallone, Arnold Schwarzenegger, Bruce Willis, Steven Seagal (bottom row) Dolph Lundgren, Jean-Claude Van Damme, Wesley Snipes, Jackie Chan.

The drive to produce a spectacle on the movie screen has largely shaped American cinema ever since. Spectacular epics which took advantage of new widescreen processes had been increasingly popular from the 1950s onwards. Since then, American films have become increasingly divided into two categories: Blockbusters and independent films. Studios have focused on relying on a handful of extremely expensive releases every year in order to remain profitable. Such blockbusters emphasize spectacle, star power, and high production value, all of which entail an enormous budget. Blockbusters typically rely upon star power and massive advertising to attract a huge audience. A successful blockbuster will attract an audience large enough to offset production costs and reap considerable profits. Such productions carry a substantial risk of failure, and most studios release blockbusters that both over- and underperform in a year. Classic blockbusters from this period include E.T., Back to the Future, Beverly Hills Cop, Top Gun, Wall Street, Rain Man, Pulp Fiction, Titanic, The Matrix, The Green Mile, The Sixth Sense, Star Wars Episode I: The Phantom Menace, Gangs of New York and The Bourne Identity.^[12]

Studios supplement these movies with independent productions, made with small budgets and often independently of the studio corporation. Movies made in this manner typically emphasize high professional quality in terms of acting, directing, screenwriting, and other elements associated with production, and also upon creativity and innovation. These movies usually rely upon critical praise or niche marketing to garner an audience. Because of an independent film's low budgets, a successful independent film can have a high profit-to-cost ratio, while a failure will incur minimal losses, allowing for studios to sponsor dozens of such productions in addition to their high-stakes releases.

American independent cinema was revitalized in the late 1980s and early 1990s when another new generation of moviemakers, including Spike Lee, Steven Soderbergh, Kevin Smith, and Quentin Tarantino made movies like, respectively: Do the Right Thing; Sex, Lies, and Videotape; Clerks; and Reservoir Dogs. In terms of directing, screenwriting, editing, and other elements, these movies were innovative and often irreverent, playing with and contradicting the conventions of Hollywood movies. Furthermore, their considerable financial successes and crossover into popular culture reestablished the commercial viability of independent film. Since then, the independent film industry has become more clearly defined and more influential in American cinema. Many of the major studios have capitalised on this by developing subsidiaries to produce similar films; for example Fox Searchlight Pictures.

To a lesser degree in the early 21st century, film types that were previously considered to have only a minor presence in the mainstream movie market began to arise as more potent American box office draws. These include foreign-language films such as Crouching Tiger, Hidden Dragon and Hero and documentary films such as Super Size Me, March of the Penguins, and Michael Moore's Bowling for Columbine and Fahrenheit 9/11.

Hollywood and politics[link]

In the 1930s the Democrats and the Republicans saw money in Hollywood. President Franklin Roosevelt saw a huge partnership with Hollywood. He used the first real potential of Hollywood’s stars in a national campaign. Melvyn Douglas toured Washington in 1939 and met the key New Dealers. Endorsements letters from leading actors were signed, radio appearances and printed advertising were made. Movie stars were used to draw a large audience into the political view of the party. By the 1960s, John F. Kennedy was a new, young face for Washington, and his strong friendship with Frank Sinatra exemplified this new era of glamor. The last moguls of Hollywood were gone and younger, newer executives and producers began generating more liberal ideas.

Celebrities and money attracted politicians into the high-class, glittering Hollywood life-style. As Ronald Brownstein wrote in his book “The Power and the Glitter”, television in the 1970s and 1980s was an enormously important new media in politics and Hollywood helped in that media with actors making speeches on their political beliefs, like Jane Fonda against the Vietnam War.^[14] This era saw former actor Ronald Reagan became Governor of California and subsequently become President of the United States. It continued with Arnold Schwarzenegger as California’s Governor in 2003. Today Washington’s interest is in Hollywood donations. On February 20, 2007, for example, Barack Obama had a $2300-a-plate Hollywood gala, being hosted by David Geffen, Jeffrey Katzenberg and Steven Spielberg at the Beverly Hilton.^[15] Hollywood is a huge donator for presidential campaigns and this money attracts politicians. Not only is Hollywood influencing Washington with its glamour and money but Washington also influences Hollywood.^[16]

Spread to world markets[link]

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2012)

This section contains weasel words: vague phrasing that often accompanies biased or unverifiable information. Such statements should be clarified or removed. (May 2012)

In 1912, American film companies were largely immersed in the competition for the domestic market. It was difficult to satisfy the huge demand for films created by the nickelodeon boom. Motion Picture Patents Company members such as Edison Studios, also sought to limit competition from French, Italian and other imported films. However, it was obvious^{[weasel words]} that a great deal of money was to be made in exporting films. Vitagraph Studios was the first American company to open its own distribution offices in Europe, establishing a branch in London in 1906, and a second branch in Paris shortly after. Other American companies were moving into foreign markets as well, and American distribution abroad continued to expand until the mid-1920s. Originally, a majority of companies sold their films indirectly; however, since they were inexperienced in overseas trading, they simply sold the foreign rights to their films to foreign distribution firms or export agents. Gradually, London became a center for the international circulation of U.S. films. Many British companies made a profit by acting as the agents for this business, and by doing so, they weakened British production by turning over a large share of the UK market to American films. By 1911, approximately 60 to 70 percent of films imported into Great Britain were American. The United States was also doing well in Germany, Australia and New Zealand.^[17]

See also[link]

• Pre-Code Hollywood
• Cinema of the world
• American Film Institute
• Movie ranches
• National Film Registry
• List of films in the public domain in the United States

Footnotes[link]

Notes[link]

References[link]

• Gabler, Neal (1988). An Empire of Their Own: How the Jews Invented Hollywood. Crown. ISBN 0-385-26557-3. 

Harpole, Charles Henry, ed. HISTORY OF AMERICAN CINEMA, ten volumes, Charles Scribner 1993-2001, New York. Also published in paper back by University of California Press.

External links[link]

• History of Hollywood's Aerial Cinematography
• Photo exhibit of filmmaking in Florida, presented by the State Archives of Florida
• Rottentomatoes.com - A large collection of movie reviews and previews from hundreds of critics
• Early American Cinema - Articles on early cinema and celebrities
• Hollywood actress news updates - Actress pics, reviews of movies..

v t e Cinema of the United States Films A–Z of films Films by year Film series Silent films Personnel Actors Animators Cinematographers Critics Directors Editors Producers Score composers Screenwriters Stunt performers Awards and events Academy Awards Directors Guild of America Award Writers Guild of America Award Golden Globes Screen Actors Guild Awards Festivals Theaters Cinema and Theatre Chains Movie theatres Industry by state Alaska Connecticut Florida Georgia Hawaii Louisiana Michigan North Carolina New Hampshire New Mexico Ohio Oregon Pennsylvania Puerto Rico Virginia Industry by city Atlanta Chicago Cleveland Hollywood Jacksonville Kansas City New York San Diego Miscellaneous Box office Hollywood Production companies AFI's 100 Years... National Film Registry

Eddie Izzard
Izzard performing at the Garrick Theatre, 2 December 2008
Birth name	Edward John Izzard[1]
Born	(1962-02-07) 7 February 1962 (age 50) Colony of Aden, Aden Protectorate (now Aden, Yemen)[2]
Medium	Stand up, Television, Film
Nationality	British
Years active	1982–present
Genres	Surreal humour, Improvisational comedy, Observational comedy.
Subject(s)	History, Celebrities, Religion, Culture, Sex
Influences	Monty Python,[3][4] Billy Connolly,[5] Lenny Bruce, Bill Hicks,[5] Steve Martin,[4] Spike Milligan, Jerry Sadowitz.[4]
Influenced	Hal Sparks, Harry Hill, Rhod Gilbert[6]
Notable works and roles	Live at the Ambassadors Unrepeatable Definite Article Dress to Kill Glorious Circle Lenny Bruce in Lenny Wayne Malloy/Doug Rich in The Riches Roman Nagel in Ocean's Thirteen Erich Fellgiebel in Valkyrie Mr. Kite in Across the Universe
Website	eddieizzard.com
Emmy Awards
Individual Performance In A Variety Or Music Program 2000 Dress to Kill Writing In A Variety, Music Or Comedy Program 2000 Dress to Kill
British Comedy Awards
Top Stand-up 1993 Live at the Ambassadors Best Stand-up 1996 Definite Article

Edward John "Eddie" Izzard^[1] (born 7 February 1962) is an English stand-up comedian, actor, and writer. His comedy style takes the form of rambling, whimsical monologue and self-referential pantomime. He had a starring role in the television series The Riches as Wayne Malloy and has appeared in many motion pictures such as Ocean's Twelve, Ocean's Thirteen, Mystery Men, Shadow of the Vampire, The Cat's Meow, Across the Universe, The Chronicles of Narnia: Prince Caspian and Valkyrie. He is also the voice of Nigel in the 2006 animated film The Wild and Miles Axlerod in the 2011 Disney/Pixar animated film Cars 2.

He has cited his main comedy role model as Monty Python, and John Cleese once referred to him as the "Lost Python".^[3] In 2009, he completed 43 marathons in 51 days for Sport Relief in spite of having no prior history of long distance running.^[7] He is also known for his transvestism. He has won numerous awards including a Primetime Emmy Award for Individual Performance in a Variety or Music Program for his comedy special Dress to Kill, in 2000. Izzard's web site won the Yahoo People's Choice Award^[8] and earned the Webby Award.^[9]

Early life[link]

Izzard was born in Aden, Yemen, then the Colony of Aden in the Aden Protectorate.^[2] He was the younger son of British parents Dorothy Ella, a midwife and nurse, and Harold John Izzard, an accountant who was working in Aden with British Petroleum.^[10][11] A year after his birth, the family moved to Bangor in Northern Ireland and lived there until he was five.^{[1][2][3][10]} The family then moved to Skewen in south west Wales (near Swansea) where his mother died of cancer when Eddie was six and his brother Mark was eight.^[1][11][12] Following his mother's death, Izzard attended boarding schools:^[1][11] St John's School in Porthcawl,^[4] St. Bede's Preparatory School, Eastbourne,^{[citation needed]} and Eastbourne College^{[citation needed]}.

Career[link]

Early career[link]

Izzard began to toy with comedy at the University of Sheffield with student friend Rob Ballard.^[5][13] After leaving his accountancy degree course, he and Ballard took their act to the streets,^[5][13] often in Covent Garden.^[4][14][15] After his split with Ballard, Izzard spent a great deal of the early 1980s working as a street performer in Europe and the United States. He then moved his act into the stand-up comedy venues of Britain. His first gig was at the Banana Cabaret in Balham, London.^[1][16] In 1987, he made his first stage appearance at The Comedy Store, London.^[3] In 1989, he met actress Sarah Townsend who was running a Fringe venue at the Edinburgh Festival.^[17] He refined his material throughout the 1980s, and in the early 1990s he finally began earning some measure of recognition through his improvisation, in part at his own club "Raging Bull" in Soho.^[15]

Success as a comedian[link]

In 1991, Izzard got a spot on the Fry and Laurie produced AIDS benefit Hysteria 3, where he did his "Wolves" sketch, which broke him into the mainstream comedy circuit and television. His resultant stand-up work brought him British Comedy Awards in 1993 (for Live at the Ambassadors), a part in "Filth" which was a stand up presentation by left-wing sympathetic comedians in aid of raising money for the Terrence Higgins Trust in 1994, and 1996 (for Definite Article).

In 1996, he got a part in his first United States-produced film, The Secret Agent, where he met and befriended Robin Williams. Williams already knew of Izzard's act, and discussed bringing his act to the United States. As a result, Izzard took Definite Article on a successful stint in New York City in the same year, and as a support act to Williams took Dress to Kill to San Francisco in 1998 (the footage from which forms the performance on the Dress To Kill DVD). His US breakthrough came in 1999, when Dress to Kill was shown on the American television channel HBO, about a year or so after he performed the show on tour in the US, UK and France. Suddenly, America was aware of Izzard, and the show went on to earn him two Emmy Awards in 2000 (for performance and writing).

In 1999, after complaints that his act recycled jokes appearing on his DVDs, the BBC's consumer programme Watchdog investigated Izzard's live act. Izzard explained that like most comedy performers, he used some of his most successful routines in each show. Nonetheless, Izzard was issued a warning by the Department of Trade and Industry. Much of the problem was caused by the recording and selling of the American leg of his tour on DVD in the UK for the Christmas market before the UK leg of the tour took place. Izzard was greatly upset by early reactions to his UK shows, and the investigation, as he was initially unaware of the show's core material having already been seen. He commented on this debacle in later performances and furiously started to write new tangential material hoping to satisfy audiences. This also led to DVD releases of first the US tour show and later the altered UK version with new and evolved material. Since then, Izzard has rarely performed his stand-up act on television, saying that it uses up material at too high a rate, whereas stage material can be continually re-used in front of different audiences for several months.^{[citation needed]}

In 2005, Izzard used his rambling style to provide the voice-over for the British government's television advertisements promoting recycling. The tagline of the ads was "Recycle. The possibilities are endless!" Izzard also performed on stage with Scottish musician Midge Ure at Live8 in Edinburgh, Scotland. He played the piano on the song "Vienna".

In January 2006, the US television network FX announced the production of a new drama series called The Riches (formerly Low Life). Izzard and British actress Minnie Driver star as a married couple, Wayne and Dahlia Malloy, who have been part of a caravan of con-artist Irish travellers swindling their way across the US with their children. After finding another family killed in a car accident, the Malloys assume their identities and start a new life as law-abiding suburbanites in Baton Rouge, Louisiana. The youngest son has shown a preference for wearing girls' clothing, leading to some speculation that the role was based upon Izzard's experiences. Izzard has stated in several interviews that the character of Sam had been given transvestite tendencies long before he was cast as Wayne Malloy, but he has contributed his perspective to keep the character believable.

Theatrical, TV and film appearances[link]

In 1994, Izzard made his West End drama debut as the lead in the world premiere of David Mamet's The Cryptogram with Lindsay Duncan, in the production at London's Comedy Theatre. The success of that role led to his second starring role in David Beaird's black comedy 900 Oneonta. In 1995, he portrayed the title character in Christopher Marlowe's Edward II.

In 1998 Izzard appeared briefly on stage with the Monty Python team in The American Film Institute's Tribute to Monty Python (also referred to as Monty Python Live at Aspen). He walked on stage with the five surviving Pythons and he was summarily escorted off by Eric Idle and Michael Palin as he attempted to participate in a discussion about how the group got together.

Izzard portrayed comedian Lenny Bruce in the 1999 production of Julian Barry's 1971 play Lenny. In 2001, he replaced Clive Owen in Peter Nichols' 1967 play A Day in the Death of Joe Egg at the Comedy Theatre. Izzard and Victoria Hamilton then repeated their lead roles when the show was brought to Broadway in 2003, with The Roundabout Theatre Company production. The revival received four Tony Award nominations including Best Revival of a Play, Best Leading Actor and Actress for its stars Izzard and Hamilton in their Broadway debuts, and Best Direction for Laurence Boswell. In June 2010, Izzard replaced James Spader in the role of Jack Lawson in David Mamet's play Race on Broadway.^[18]

Izzard has appeared in numerous films, starting with 1996's The Secret Agent. He has appeared as several real-life individuals, including Charlie Chaplin in The Cat's Meow, actor Gustav von Wangenheim in Shadow of the Vampire and General Erich Fellgiebel in Valkyrie. Other roles have included Mr. Kite in Across the Universe, Lussurioso in Revengers Tragedy and criminal expert Roman Nagel in Ocean's Twelve and Ocean's Thirteen. Voice work has included the titular It in Five Children and It, Nigel in The Wild and the mouse warrior Reepicheep in The Chronicles of Narnia: Prince Caspian. He said in 2009 that he would not be reprising his role as Reepicheep and the role was ultimately played by Simon Pegg in The Chronicles of Narnia: The Voyage of the Dawn Treader. He also had a brief appearance in James Cameron's oscar winning film, Titanic. He appeared as a cabin boy on the ship.

Izzard appeared in the BBC science fiction miniseries The Day of the Triffids based on the 1951 novel, alongside Jason Priestley, Vanessa Redgrave, Joely Richardson, Dougray Scott and Brian Cox.^[19] He played Dr. Hatteras, a sceptical psychology professor, in the Showtime series United States of Tara.^[20]

In December 2011, he appeared in the British drama Lost Christmas as Anthony. The film was written by David Logan and John Hay. In January 2012, he appeared as Long John Silver in Sky1's adaptation of Treasure Island alongside Elijah Wood and Philip Glenister among others.

Comic style[link]

Elliott Gould and Eddie Izzard

Izzard's style is heavily influenced by Monty Python, or rather Spike Milligan, especially in his use of a stream-of-consciousness delivery that jumps between topics as he free associates on stage. He does not generally work from a script, owing to his dyslexia. Instead, he interrupts himself with new joke ideas, the characters he portrays turn into other characters, and he nonchalantly leaps from topic to topic. This often results in brief pauses in the routine which he fills with 'so, yeah', and other verbal tics that have become his trademarks. Thinking aloud is also part of Izzard's ongoing attempt to make the process of writing the show itself part of the humour. As he put it in a 2004 interview with The Guardian, "It's the oral tradition. Human beings have been doing it for thousands of years".^[21] He frequently notes the reaction to a joke midstream by pretending to write on his hand ("Should be funnier"; "Lost them there"; "They didn't believe me"; "They didn't follow, never do that again"; "Never link those two [references] together ever again.") He asks the audience questions and verbally engages with hecklers.

Among Izzard's comic talents are mimicry and mime. He portrays God as an authority figure using the voice of James Mason and casts Sean Connery as Noah; these impersonations appear in many of his performances. Izzard also imitates activities such as sawing wood, vacuum cleaning, and mowing the lawn, anthropomorphising the machines with accents and personalities. Successful impressions, such as his Scottish clarinet teacher, Mrs. Badcrumble, become running gags which recur in different shows. He tackles topics both contemporary and historic, including frequent re-imaginings of historical events which result in scenes like 'Cake or Death: Church of England runs the Inquisition', or 'Jesus Ministers to the Dinosaurs'.

When asked about his comedy style by George Stroumboulopoulos, host of CBC Television's talk show, The Hour, Izzard described his use of history by saying,

"I just talk complete bullshit. The history, the politics, I noticed that no one was using history, so there's a lot of history lying about the place, and it's all free, and it's on Wikipedia! You know, I use Wikipedia like a crazy idiot, now. Then I take all this stuff, and I regurgitate it into a weird angle".^[22]

In 2008, in his Stripped tour, Izzard began using Wikipedia itself as part of his stand-up act, reading from a live copy of an article and mocking Wikipedia's self-referential editorial style.

Traditionally, Izzard has focused on the creative possibilities of thinking through absurd situations in real time. He also turns much of the attention on himself and his personality, including his cross-dressing ("It is my manifest destiny to wear a dress on all seven continents"). Contemporary popular culture (Harry Potter, Star Wars, etc.) is also a frequent subject, brought up both to critique its weaknesses and to enhance his anecdotes.

His bent towards the surreal even went so far as to produce a sitcom called Cows in 1997 for Channel 4, a live action comedy with actors dressed in cowsuits.^[23]

Transvestism[link]

Izzard performing Sexie, 17 October 2003

Izzard started to freely talk about his transvestism in venues like Edinburgh Festival as early as 1992.^[24][25] In his show, Dress to Kill, Izzard describes himself as an "executive", "action" and "professional" transvestite, as "a male tomboy" rather than a drag queen or a "weirdo" transvestite (he cites J. Edgar Hoover and Hermann Göring as examples of the latter). In the past he regularly cross-dressed on stage but, since gaining success as a television and film actor, has decided to stay in "boy-mode" for the last several years. While there are those who suspect Izzard's cross-dressing was simply a comedic hook, he says that cross-dressing is, for him, neither a part of his performance nor a sexual fetish.^{[citation needed]} He remarks in his show Unrepeatable, "Women wear what they want and so do I". According to Izzard, "Most transvestites fancy women".^[26] He dismisses claims that he is a male homosexual, saying he is "a straight transvestite or a male lesbian".^[27] He has also described himself as "a lesbian trapped in a man's body",^[28] transgender,^[24] and "a complete boy plus half girl".^[27]

Activism[link]

Izzard has engaged in campaigning work. He is especially well known as a pro-European Union campaigner supporting the further integration of the UK into the EU. In May 2005, he appeared on the BBC's political debate show Question Time, describing himself as a 'British-European', comparing this with other cultural identities such as 'African-American'. As part of his integration campaigning, he was one of the first people to spend a euro in London. This pan-European approach has influenced his work: he regularly performs in French,^[15][20] in which he is fluent,^[14] and occasionally in German,^[15] in addition to English. In July 2003, Izzard received an honorary Doctor of Letters from the University of East Anglia in Norwich, England for "pro-Europe campaigning", "his contribution to promoting modern languages and tolerance of other cultures and lifestyles" and for having "transcended national barriers" with his humour.^[29]

He has also campaigned unsuccessfully against the closure of the departments of Drama and Languages, Linguistics and Translation at the University of East Anglia, although the department of Drama was later reprieved. In 1998, Izzard was named in a list of the biggest private financial donors to the Labour Party.^[30] He appeared in a party political broadcast for the Labour Party in the run up to the 2005 general election. He donated nearly £10,000 to the party in 2008,^[31] appeared again in a party political broadcast for the 2009 European election and again in a 2010 election video entitled 'Brilliant Britain'. Izzard appeared in literature to support changing the British electoral system from first-past-the-post to alternative vote for electing Members of Parliament to the House of Commons in the Alternative Vote referendum in 2011.^[32] In 2011, Eddie Izzard revealed that he had political ambitions and wanted to become an MP, Mayor or MEP by 2020.^[33]

On 20 July 2006, he received an honorary doctorate in Letters from the Faculty of Arts at the University of Sheffield,^[34] where he spent one year on an Accounting and Financial Management course in the early 80s. During his time at the University he established the now-defunct Alternative Productions Society in the Union of Students with the aim of promoting fringe-based arts. On 4 March 2010, he was elected as the Honorary President of the University of Sheffield Students' Union.^[35]

On 7 July 2007, Izzard was one of the presenters from the London leg of Live Earth. During an interview for the 2008 Stripped tour, Izzard spoke about becoming more active in European politics as well as running for political office in Europe within the next decade. Izzard added a stop in New Orleans during his 2008 Stripped tour. All proceeds from the performance of 23 June 2008 were donated to Neighborhood Housing Services of New Orleans.^[36]

Marathons[link]

On 27 July 2009, with only 5 weeks' training and no significant prior history of running, Izzard began seven weeks of back-to-back marathon runs (with Sundays off) across the UK to raise money for Sport Relief. He ran from London to Cardiff, to Belfast, to Edinburgh, and back to London carrying flags of England, Scotland or Wales depending on which country he was in, and carried a self-designed green flag bearing a white dove when in Northern Ireland. The blog Eddie Iz Running was a document of his road running marathon, in which he ran 43 marathons in 51 days. He completed the run on 15 September 2009, after having run at least 27 miles each day, 6 days a week for 7 weeks straight, covering more than 1,100 miles across the UK.^[37] Izzard received a special award at BBC Sports Personality of the Year 2009 for his achievements.^[38]

Izzard ran his final marathon in five hours and 30 seconds, narrowly outside his projected time. However, had he not stopped and waited 20 minutes for his film crew to catch up with him he could have finished well under his target time. In March 2010, Izzard took part in the Sport Relief Mile event.^[39]

Following the completion of the marathon runs, Izzard has started training to take part in an Ironman Triathlon, saying he has become fascinated with fitness "because there's no point in throwing away all that training".^[40]

Personal life[link]

During his Stripped tour, Izzard said he realised he was an atheist. "I was warming the material up in New York, where one night, literally on stage, I realised I didn’t believe in God at all. I just didn’t think there was anyone upstairs."^[41]

He keeps his romantic life private, saying one of the reasons is due to the wishes of his companions not wanting to become content for his show.^[41] Izzard dated Sarah Townsend, the director of the documentary Believe: The Eddie Izzard Story,^[14] whom he first met while she was running a Fringe venue at the Edinburgh Festival in 1989.^[17]

Izzard speaks French and has performed stand up in French during his shows.^[14] He also speaks German and used it in the 2001 film All the Queen's Men.

He supports Crystal Palace FC.^[42]

Izzard is an outspoken supporter of the Labour Party, and in September 2011 declared his ambition to stand for the party in the future as an MP, MEP or as Mayor of London.^[43]

Critical reception[link]

On 18 March 2007, Izzard was listed as number 3 of the 100 Greatest British National Comedians (just behind Peter Kay at number 2 and Billy Connolly at number 1) as part of British television station Channel 4's ongoing 100 Greatest..., series. However in the 2010 updated version of the list he was ranked 5th^[44] In a 2005 poll to find The Comedian's Comedian, Izzard was voted amongst the top 20 greatest comedy acts ever by fellow comedians and comedy insiders. He was number 75 in Comedy Central's 100 Greatest Stand-ups of All Time.

During the 1999 television special It's... the Monty Python Story,^[45] which Izzard hosted, John Cleese said Izzard was the "Lost Python"; Izzard furthered that idea via his substitution for Graham Chapman in public performance of Python material with the rest of the original members of the troupe. He also made a cameo appearance in the Python reunion interview Monty Python Live at Aspen.

In 2008, Izzard received the James Joyce Award of the Literary and Historical Society of UCD, Dublin, Ireland. In March 2010, Sheffield Students' Union of the University of Sheffield overwhelmingly elected him their honorary President.

Discography and appearances[link]

Stand-up[link]

• Live at the Ambassadors (15 November 1993)
• Unrepeatable (1994)
• Definite Article (21 October 1996)
• Glorious (17 November 1997)
• Dress to Kill (9 November 1998)
• Circle (18 November 2002)
• Sexie (26 November 2003)
• Stripped (23 November 2009)
• Force Majeure (2013)

Stage[link]

• 900 Oneonta (1994)
• The Cryptogram (1994)
• Edward II (1995)
• Lenny (1999)
• A Day in the Death of Joe Egg (2001–2002, 2003)
• Trumbo (2003)
• Race (2010)

Filmography[link]

• The Oncoming Storm (1995) as Luthor Keeton
• The Secret Agent (1996) as Vladimir
• Velvet Goldmine (1998) as Jerry Devine
• The Avengers (1998) as Bailey
• Mystery Men (1999) as Tony P
• The Criminal (1999) as Peter Hume
• Circus (2000) as Troy
• Shadow of the Vampire (2000) as Gustav von Wangenheim
• The Cat's Meow (2001) as Charlie Chaplin
• All the Queen's Men (2001) as Tony Parker
• Revengers Tragedy (2002) as Lussurioso
• Alien Invasion (2003) as Brik
• Blueberry aka Renegade (2004) as Prosit
• Around the World in 80 Days (2004)
• Five Children and It (2004) as It (voice)
• Romance & Cigarettes (2004) as Gene Vincent
• Ocean's Twelve (2004) as Roman Nagel
• The Aristocrats (2005) as Himself
• The Wild (2006) as Nigel (voice)
• My Super Ex-Girlfriend (2006) as Professor Bedlam
• Ocean's Thirteen (2007) as Roman Nagel
• Across the Universe (2007) as Mr. Kite
• The Chronicles of Narnia: Prince Caspian (2008) as Reepicheep (voice)
• Igor (2008) as Dr. Schadenfreude (voice)
• Valkyrie (2008) as Erich Fellgiebel
• Rage (2009) as Tiny Diamonds
• The Other Side (2009) as Dean Bellamy
• Believe: The Eddie Izzard Story (2009) as Himself
• Every Day (2010) as Garrett
• Cars 2 (2011) as Miles Axelrod
• Lost Christmas (2011) as Anthony

TV appearances[link]

• Barf Bites Back (Amnesty International Gala) (1991) – ITV
• Open Fire (1994)
• Have I Got News for You (1994, 1995 and 1996) – BBC Two
• Aristophanes: The Gods are Laughing (1995)
• Whose Line Is It Anyway? (1995)
• Tales from the Crypt (1996) – HBO
• Clive Anderson Talks Back (1996)
• Inspector Derrick (1997)
• Channel Izzard (1997)
• The Roseanne Show (1998)
• Rex the Runt (1998) – BBC
• Shooting Stars (1998) – BBC
• Parkinson (3 times)
• Dennis Miller Live (1999) – HBO
• Python Night – 30 Years of Monty Python (1999) – BBC
• Good News Week (2000) – Network 10
• Mongrel Nation (2002) – Discovery Channel
• The Caroline Rhea Show (2002)
• The Tonight Show with Jay Leno (2002, 2004 and 2007)
• The Tonight Show with Conan O'Brien (2009)
• 40 (2003) – Channel 4
• Late Night with Conan O'Brien (2003, 2008) NBC
• QI (Unaired pilot- 2002 or 2003, and 2010)
• Top Gear (2004) – BBC Two
• Last Call with Carson Daly (2005)
• The Sharon Osbourne Show (2006)
• Late Show with David Letterman (6 times)
• Late Late show with Craig Kilborn (4 times)
• The Late Late Show with Craig Ferguson (2006, 2008, 2009, 2010, 2011)
• The Henry Rollins Show (2006)
• The Paul O'Grady Show (2009)
• The Secret Policeman's Ball (2006)
• Kitchen (2007) – five
• Comedy Cuts (interview) (2007)
• The Hour (2007)
• Friday Night with Jonathan Ross (2007 and 2009)
• The Daily Show (2000, 2003 and 2007)
• The Riches (2007–2008)
• The Secret Policeman's Ball (2008)
• The Graham Norton Show (2008 and 2011)
• Late Night with Jimmy Fallon (2009)
• Kevin Pollak's Chat Show (2009)
• BBC Sports Personality of the Year (2009 award winner)
• The Day of the Triffids (2009)
• Marathon Man (2010)
• The Simpsons episode To Surveil with Love (2010)
• Chelsea Lately (2010)
• United States of Tara (2011)
• Alan Carr: Chatty Man (2011)
• The Green Room with Paul Provenza (2011)
• The Good Wife (2011) Season 3 – Episode 2, James Thrush ^[46]
• The Big Fat Quiz of the Year (2011)
• Treasure Island (2012) as Long John Silver
• The Secret Policeman's Ball (2012)

Video game[link]

• 102 Dalmatians: Puppies to the Rescue – Sgt. Tibbs the Cat (voice)

See also[link]

• Cross-dressing in film and television

References[link]

External links[link]

Wikimedia Commons has media related to: Eddie Izzard

Wikiquote has a collection of quotations related to: Eddie Izzard

• Official web site
• BBC America – Eddie Izzard
• Eddie Izzard at the Internet Movie Database
• Eddie Izzard at AllRovi
• Interview with Izzard – The Observer, 3 October 2004
• It's stupid and I love it – the Goon Show and me – The Guardian, 14 February 2005.
• Izzard interviewed by Bono – The Independent, 16 May 2006
• Venus Zine Staff Picks: Eddie Izzard, Dress to Kill

Captain America is a fictional character, a superhero who appears in comic books published by Marvel Comics. The character first appeared in Captain America Comics #1 (cover-dated March 1941), from Marvel Comics' 1940s predecessor, Timely Comics,^[1] and was created by Joe Simon and Jack Kirby. As of 2007, an estimated 210 million copies of "Captain America" comic books had been sold in 75 countries.^[2] For nearly all of the character's publication history, Captain America was the alter ego of Steve Rogers, a frail young man who was enhanced to the peak of human perfection by an experimental serum in order to aid the United States war effort. Captain America wears a costume that bears an American flag motif, and is armed with an indestructible shield that can be thrown as a weapon.^[3]

An intentionally patriotic creation who was often depicted fighting the Axis powers of World War II, Captain America was Timely Comics' most popular character during the wartime period. After the war ended, the character's popularity waned and he disappeared by the 1950s aside from an ill-fated revival in 1953. Captain America was reintroduced during the Silver Age of comics when he was revived from suspended animation by the superhero team the Avengers in The Avengers #4 (March 1964). Since then, Captain America has often led the team, as well as starring in his own series.

Steve Rogers was purportedly assassinated in Captain America vol. 5, #25 (March 2007), although he was later revealed to be alive. The comic-book series Captain America continued to be published,^[4] with Rogers' former sidekick, James "Bucky" Barnes, having taken up the mantle, and keeping it at the insistence of Rogers, who upon his return began operating as an intelligence agent in the Secret Avengers title, and in the limited series Steve Rogers: Super Soldier, before resuming the identity after Bucky was killed in the line of duty.

Captain America was the first Marvel Comics character adapted into another medium with the release of the 1944 movie serial Captain America. Since then, the character has been featured in several other films and television series, including Chris Evans' portrayal in Captain America: The First Avenger, released on July 22, 2011, and The Avengers, released on May 4, 2012. Captain America was ranked sixth on IGN's Top 100 Comic Book Heroes in 2011.

Publication history[link]

In 1940, writer Joe Simon conceived the idea for Captain America and made a sketch of the character in costume.^[5] "I wrote the name 'Super American' at the bottom of the page," Simon said in his autobiography. "No, it didn't work. There were too many 'Supers' around. 'Captain America' had a good sound to it. There weren't a lot of captains in comics. It was as easy as that. The boy companion was simply named Bucky, after my friend Bucky Pierson, a star on our high school basketball team."^[6]

Simon recalled in his autobiography that Timely Comics publisher Martin Goodman gave him the go-ahead and directed that a Captain America solo comic book series be published as soon as possible. Needing to fill a full comic with primarily one character's stories, Simon did not believe that his regular creative partner, artist Jack Kirby, could handle the workload alone:

I didn't have a lot of objections to putting a crew on the first issue.... There were two young artists from Connecticut that had made a strong impression on me. Al Avison and Al Gabriele often worked together and were quite successful in adapting their individual styles to each other. Actually, their work was not too far from [that of] Kirby's. If they worked on it, and if one inker tied the three styles together, I believed the final product would emerge as quite uniform. The two Als were eager to join in on the new Captain America book, but Jack Kirby was visibly upset. 'You're still number one, Jack,' I assured him. 'It's just a matter of a quick deadline for the first issue.'

'I'll make the deadline,' Jack promised. 'I'll pencil it [all] myself and make the deadline.' I hadn't expected this kind of reaction ... but I acceded to Kirby's wishes and, it turned out, was lucky that I did. There might have been two Als, but there was only one Jack Kirby.

I wrote the first Captain America book with penciled lettering right on the drawing boards, with very rough sketches for figures and backgrounds. Kirby did his thing, building the muscular anatomy, adding ideas and pepping up the action as only he could. Then he tightened up the penciled drawings, adding detailed backgrounds, faces and figures.^[6]

Al Liederman would ink that first issue, which was lettered by Simon and Kirby's regular letterer, Howard Ferguson.^[7]

Simon said Captain America was a consciously political creation; he and Kirby were morally repulsed by the actions of Nazi Germany in the years leading up to the United States' involvement in World War II and felt war was inevitable: "The opponents to the war were all quite well organized. We wanted to have our say too."^[8]

Captain America Comics #1 — cover-dated March 1941 and on sale in December 1940, a year before the attack on Pearl Harbor, but a full year into World War II — showed the protagonist punching Nazi leader Adolf Hitler in the jaw; it sold nearly one million copies.^[9] While most readers responded favorably to the comic, some took objection. Simon noted, "When the first issue came out we got a lot of... threatening letters and hate mail. Some people really opposed what Cap stood for."^[8] The threats, which included menacing groups of people loitering out on the street outside of the offices, proved so serious that police protection was posted with Mayor Fiorello La Guardia personally contacting Simon and Kirby to give his support.^[10]

Though preceded as a "patriotically themed superhero" by MLJ's The Shield, Captain America immediately became the most prominent and enduring of that wave of superheroes introduced in American comic books prior to and during World War II,^{[citation needed]} as evidenced by the unusual move at the time of premiering the character in his own title instead of an anthology title first. This popularity drew the attention and a complaint from MLJ that the character's triangular shield too closely resembled the chest symbol of their Shield character. In response, Goodman had Simon and Kirby create a distinctive round shield for issue 2, which went on to become an iconic element of the character.^[11] With his sidekick Bucky, Captain America faced Nazis, Japanese, and other threats to wartime America and the Allies. Stanley Lieber, now better known by his pen name Stan Lee, contributed to the character in issue #3 in the filler text story "Captain America Foils the Traitor's Revenge," which introduced the character's use of his shield as a returning throwing weapon.^[12] Captain America soon became Timely's most popular character and even had a fan-club called the "Sentinels of Liberty."^[8]

Circulation figures remained close to a million copies per month after the debut issue, which outstripped even the circulation of news magazines like Time during the period.^[13] After the Simon and Kirby team moved to DC in late 1941, having produced Captain America Comics through issue #10 (January 1942), Al Avison and Syd Shores became regular pencillers of the celebrated title, with one generally inking over the other. The character was also featured in All Winners Comics #1-19 (Summer 1941 – Fall 1946), Marvel Mystery Comics #80-84 and #86-92, USA Comics #6-17 (Dec. 1942 – Fall 1945), and All Select Comics #1-10 (Fall 1943 – Summer 1946).

In the post-war era, with the popularity of superheroes fading, Captain America led Timely's first superhero team, the All-Winners Squad, in its two published adventures, in All Winners Comics #19 and #21 (Fall–Winter 1946; there was no issue #20). After Bucky was shot and wounded in a 1948 Captain America story, he was succeeded by Captain America's girlfriend, Betsy Ross, who became the superheroine Golden Girl. Captain America Comics ended with issue #75 (Feb. 1950), by which time the series had been titled Captain America's Weird Tales for two issues, with the finale being a horror/suspense anthology issue with no superheroes.

Atlas Comics attempted to revive its superhero titles when it reintroduced Captain America, along with the original Human Torch and the Sub-Mariner, in Young Men #24 (Dec. 1953). Billed as "Captain America, Commie Smasher!" Captain America appeared during the next year in Young Men #24-28 and Men's Adventures #27-28, as well as in issues #76-78 of an eponymous title. Atlas' attempted superhero revival was a commercial failure,^[14] and the character's title was canceled with Captain America #78 (Sept. 1954).

Silver Age revival[link]

In the Human Torch story titled "Captain America" in Marvel Comics' Strange Tales #114 (Nov. 1963),^[15] writer-editor Stan Lee and artist and co-plotter Jack Kirby depicted the brash young Fantastic Four member Johnny Storm, the Human Torch, in an exhibition performance with Captain America, described as a legendary World War II and 1950s superhero who has returned after many years of apparent retirement. The 18-page story ends with this Captain America revealed as an impostor: it was actually the villain the Acrobat, a former circus performer the Torch had defeated in Strange Tales #106, who broke two thieves out of jail, hoping to draw the police away while trying to rob the local bank. Afterward, Storm digs out an old comic book in which Captain America is shown to be Steve Rogers. A caption in the final panel says this story was a test to see if readers would like Captain America to return.

Captain America was then formally reintroduced in The Avengers #4 (March 1964), which explained that in the final days of WWII, he had fallen from an experimental drone plane into the North Atlantic Ocean and spent decades frozen in a block of ice in a state of suspended animation. The hero found a new generation of readers as leader of that superhero team. Following the success of other Marvel characters introduced during the 1960s, Captain America was recast as a hero "haunted by past memories, and trying to adapt to 1960s society."^[16]

After then guest-starring in the feature "Iron Man" in Tales of Suspense #58 (Oct. 1964), Captain America gained his own solo feature in that "split book," beginning the following issue. Issue #63 (March 1965), which retold Captain America's origin, through issue #71 (Nov. 1965) was a period feature set during World War II and co-starred Captain America's Golden Age sidekick, Bucky. Kirby drew all but two of the stories in Tales of Suspense, which became Captain America with #100 (April 1968); Gil Kane and John Romita, Sr., each filled in once. Several stories were finished by penciller-inker George Tuska over Kirby layouts, with one finished by Romita Sr. and another by penciller Dick Ayers and inker John Tartaglione. Kirby's regular inkers on the series were Frank Giacoia (as "Frank Ray") and Joe Sinnott, though Don Heck and Golden Age Captain America artist Syd Shores inked one story each. The new title Captain America continued to feature artwork by Kirby, as well as a short run by Jim Steranko, and work by many of the industry's top artists and writers. It was called Captain America and the Falcon from #134-222 (although the Falcon's name was not on the cover for issues #193, 200, and 216).

This series — considered Captain America volume one by comics researchers and historians,^[17] following the 1940s Captain America Comics and its 1950s numbering continuation — ended with #454 (Aug. 1996).

After the Silver Age[link]

This series was almost immediately followed by the 13-issue Captain America vol. 2 (Nov. 1996 – Nov. 1997, part of the "Heroes Reborn" crossover),^[18] the 50-issue Captain America vol. 3 (Jan. 1998 – Feb. 2002),^[19] the 32-issue Captain America vol. 4 (June 2002 – Dec. 2004),^[20] and Captain America vol. 5 (Jan. 2005 – July 2009).^[21] Beginning with the 600th overall issue counting these series, Captain America resumed its original numbering, as if the series numbering had continued uninterrupted after #454.

As part of the aftermath of Marvel Comics' company-crossover storyline "Civil War", Steve Rogers was ostensibly killed in Captain America vol. 5, #25 (March 2007). Series writer Ed Brubaker remarked, "What I found is that all the really hard-core left-wing fans want Cap to be standing out on and giving speeches on the street corner against the George W. Bush administration, and all the really right-wing fans all want him to be over in the streets of Baghdad, punching out Saddam Hussein."^[22] The character's co-creator, Joe Simon, remarked, "It's a hell of a time for him to go. We really need him now."^[22] Artist Alex Ross designed a slightly revised Captain America costume that former sidekick Bucky Barnes began to wear as the new Captain America in vol. 5, #34 (March 2008)^[23]

The storyline of Rogers' return began in issue #600.^[24][25] Rogers, who was not dead but caroming through time, returned to the present day in the six-issue miniseries Captain America: Reborn (Sept. 2009 – March 2010).^[26]

After Rogers' return, Barnes, at Rogers' insistence, continued as Captain America, beginning in the one-shot comic Captain America: Who Will Wield the Shield? (Feb. 2010). While Bucky Barnes continued adventuring in the pages of Captain America, Steve Rogers received his own miniseries (Steve Rogers: Super-Soldier) as well as taking on the leadership position in a new Secret Avengers ongoing series.

Spinoff series included Captain America Sentinel of Liberty (Sept. 1998 – Aug. 1999) and Captain America and the Falcon (May 2004 – June 2005). The 1940s Captain America appeared alongside the 1940s Human Torch and Sub-Mariner in the 12-issue miniseries Avengers/Invaders.^[27][28] The 2007 mini-series Captain America: The Chosen, written by David Morrell and penciled by Mitchell Breitweiser, depicts a dying Steve Rogers' final minutes, at S.H.I.E.L.D. headquarters, as his spirit guides James Newman, a young American Marine fighting in Afghanistan. The Chosen is not part of the main Marvel Universe continuity.^[29][30]

Marvel stated in May 2011 that Rogers, following the public death of Bucky Barnes in the Fear Itself miniseries, would resume his Captain America identity in a sixth volume of Captain America, by writer Ed Brubaker and artist Steve McNiven.^[31]

Fictional character biography[link]

This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (March 2011)

1940s[link]

Steve Rogers was born July 4, 1920, in the Lower East Side of Manhattan, New York City, to Irish immigrants Sarah and Joseph Rogers.^[32] Joseph Rogers died when Steve was only a child and his mother, Sarah, died of pneumonia while Steve was a teen. By early 1940, before America's entry into World War II, Rogers is a tall but scrawny fine arts student specializing in illustration, and a comic book writer and artist, a career he willingly set aside upon his transformation into Captain America. Despite some forays into graphics, Steve Rogers never created another character^[33]

Disturbed by the rise of the Third Reich, Rogers attempts to enlist, only to be rejected due to his physically frail body. His resolution however allows him to be noticed by U.S. Army General Chester Phillips and "Project: Rebirth." Rogers is used as a test subject for the Super-Soldier project, receiving a special serum made by "Dr. Josef Reinstein",^[34][35] later retroactively changed to a code name for the scientist Abraham Erskine.^[36]

The serum, coupled with the stabilizing "Vita-Rays," is a success, and transforms the frail Steve Rogers into a perfect specimen--a nearly perfect human being with peak strength, agility, stamina, and intelligence. The success of the program leaves Erskine wondering about replicating the experiment on other human beings.^[35] The process itself however has been inconsistently detailed: while in the original material Steve Rogers is shown receiving injections of the Super-Serum, when the origin was retold in the sixities, the Comic Code Authority had already put a veto over graphic description of drug intake and abuse, and thus the Super-Serum was retconned into an oral formula.^[37] Later accounts hints at a combination of oral and intravenous treatments, culminating in the Vita-Ray exposure and a strenuous training regimen.

Erskine refused to write down every crucial element of the treatment, leaving behind a flawed, imperfect knowledge of the needed steps. Thus, when the Nazi spy Heinz Kruger killed him, Erskine's method of creating new Super-Soldiers died as well. Captain America, in his first act after his tranfsormation, avenges Erskine. In the 1941 origin story and in Tales of Suspense #63, Kruger dies when running into machinery but is not killed by Rogers; in the Captain America #109 and #255 revision, however, Rogers causes the spy's death by punching him into machinery.^[35]

Unable to create new Super-Soldiers, and willing to hide the Project Rebirth fiasco, the U.S.A. Government casts the now-powerful Rogers as a patriotic superhero, able to counter the menace of the Red Skull as a counter-intelligence agent. As such, he's supplied with a patriotic uniform (designed by Rogers himself) ^[32]) a bulletproof shield, a personal side arm, and the codename Captain America, while Steve Rogers himself poses as a clumsy infantry private at Camp Lehigh in Virginia. He forms a friendship with the camp's teenage mascot, James Buchanan "Bucky" Barnes.^[34]