Joseph Seiden - Knowledge (XXG)

84: 184:. The company then launched into production for a long series of full-length, low-budget Yiddish "talkie" films. Seiden knew how to skirt regulations to save money and would often film at night or on holidays to avoid scrutiny. His first films were very poorly received by Yiddish cultural critics, but were nonetheless profitable enough to continue being made. 116:

hall often drowned out the act. By 1916 the family moved from running theatres to founding a production company, with Joseph and his brother Jacob being on the board of the Teeaness Film Co., and in 1918 his own company, Seiden Films, which made short educational or industrial films. Joseph soon

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Later in the 1920s Seiden continued to make money on the production and supply parts of the industry, running a company renting sound equipment for film production and another, the Seiden Camera Exchange, for film and photography equipment.

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By the end of the 1930s, although the market was saturated with far more Yiddish films than had existed a decade earlier, Joseph still thought he could make a profit by producing low-budget dramas. He rented a loft in

279:(God, Man and Devil). Although his budget for actors and music was much higher than his prewar films, the film still suffered from primitive production and poor editing and was not well received. After adapting 176:. The idea of a "Yiddish Talkie" was still such a novelty that contemporary newspapers debated whether it was commercially viable. After those saw some success, the company produced its first full-length film, 140:

in Europe in the same year. He also continued to make industrial films in the United States, refounding his company in 1922 as the Seiden Industrial and Educational Film Corp. Associated.

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In 1931 Seiden took over full ownership of Judea Pictures, and then in 1935 founded a new company called Jewish Talking Pictures. The new company's first major work was a remake of

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After 'retiring' from filmmaking, Seiden turned to distribution and made his living that way, by renting out his own films and those of other Yiddish producers. Joseph died in

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Among his notable works during this era was his trip to Poland to film for Richard Ordynski and his Tatra Production Corporation in 1919, as film representative for

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Seiden was present at the very dawn of the film industry in the New York area as he was a picture operator and voiceover actor at age 15 for the vaudeville and

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film producer of the early twentieth century. He released a large number of low-budget, sentimental Yiddish dramas during the 1930s and 1940s. He also directed

1499: 1504: 203:. The vice-mayor of Tel Aviv forbade the playing of the film, and then only allowed it with the sound cut off for the Yiddish dialogue and songs. 309:

After his death, his collection of reels was sold by Joseph's son to Sharon Pucker Rivo and Miriam Krant, who used it as the basis to found the

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It was only in 1949 that Joseph once again started making Yiddish films. In 1949 he set about to make an ambitious film, Jacob Gordin's

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With the rise of the Nazi Party to power in Germany, Joseph became a vocal and active opponent. He produced an anti-Nazi film called

1452: 1354: 1327: 1183: 1153: 1073: 1043: 1002: 923: 823: 762: 710: 685: 660: 529: 199:, members of the audience threw ink at the screen and set off stink bombs to protest the use of the Yiddish language (rather than 310: 118: 1402: 1101: 557: 137: 1442: 1344: 519: 839: 97: 112:

worked in the Columbia street theater as a child and described it in his memoir as a noisy place where the adjacent

60: 299:. After 1950, there was little market for Yiddish-language films and Joseph stopped trying to make new films. 303: 187:

In 1930 Seiden tried to boost the international viewership of his films by securing a distribution deal in

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recording artists in the United States, recording comedy and music records at the turn of the century.

440: 83: 1494: 1489: 287:(Three Daughters), Joseph turned to less commercially risky productions, and made the musical revues 242: 101: 1444:

Historical Dictionary of African American Cinema - S. Torriano Berry, Venise T. Berry - Google Books

165: 473: 363: 234: 188: 1199: 893: 343: 410: 122: 34: 778: 181: 1448: 1398: 1350: 1323: 1179: 1149: 1097: 1069: 1039: 998: 919: 819: 758: 706: 681: 656: 553: 525: 272:, Joseph ceased making Yiddish films and turned to wartime production (of collapsible masts). 1423: 1217: 269: 230: 153: 72: 29: 1395:

Jewish films in the United States : a comprehensive survey and descriptive filmography

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Jewish films in the United States : a comprehensive survey and descriptive filmography

1267: 433: 403: 219: 214:, which was directed by Harry Thomashefsky. By 1936, Joseph turned to artist and director 200: 105: 64: 550:

Stardust lost : the triumph, tragedy, and mishugas of the Yiddish theater in America

598: 249:(The Living Orphan). He followed up with a number of similar formulaic films, including 626: 573: 451: 133: 1292: 1483: 229:(1934), directed by his longtime collaborator Michael Mindlin, and in 1938 denounced 215: 1242: 423: 389: 313:. The center has since restored and reissued a number of Joseph's films, including 280: 207: 109: 56: 521:

Hollywood on the Hudson: Film and Television in New York from Griffith to Sarnoff

494: 168:, which immediately produced two short films with budgets of around $ 3,000: 455: 113: 52: 196: 164:, that Seiden banded together with Moe Berliner and Moe Goldman to found 126: 796: 726: 599:"Joseph Or Josef Seiden. United States Passport Applications, 1795-1925" 265:(1941), which was just a recut of various previous films he had made. 393: 71:. While Joseph was still a child, his father became one of the first 68: 100:

theaters his family ran, starting in around 1907 with a theater in

1118:"ANTI-NAZIS PROTEST RIEFENSTAHL'S VISIT TO CIRCULATE OLYMPIC FILM" 82: 1176: