Download Cinema, Dance Hall, and the Rise of 1920s Leisure Culture in ... and more Slides Dance in PDF only on Docsity! “The Mania of the Moment”: Cinema, Dance Hall, and the Rise of 1920s Leisure Culture in Britain Kathryn Reilly Yurkovsky Senior Thesis Seminar Professor Lisa Tiersten 1 May 2015 Table of Contents Acknowledgements ……………………………………………………………………...………. 1 Introduction …………………………………………………………………………………...…. 2 Historiography ………………………………………………………………………………...… 5 Chapter I ……………………………………………………………………………………....…. 7 Setting the Scene: The Making of a LeisureFriendly Britain Chapter II……………………………………………………………………………………….. 22 “Wherever you look”: The Growth and Democratization of 1920s Leisure Chapter III………………………………………………………………………………………. 35 “A Certain Universal Frivolity”: Anxieties Over Popular Culture and the Growth of Cheap Amusements Chapter IV………………………………………………………………………………………. 46 “The Talk of London”: Advertising Cinema and Dance Hall in the 1920s Conclusion ………………………………………………………………………………...…… 59 Appendix A ………………………………………………………………………………..…….62 Bibliography ……………………………………………………………………………...……..71 3 the first anniversary of Armistice Day in November 1919. Celebratory enjoyment of this sort 1 proliferated during the first few years following the war’s end, and gave way to a new culture of amusement. Lightheartedness, victory, and progress became defining symbols of a new, warfree age that came to epitomize the mood of the nation throughout 1920s. This feeling was fueled by a newfound appreciation of life brought on by the mass destruction of war. An overwhelming desire to live in the moment and enjoy life defined the attitude of an entire era. The longterm trend of amusement meant that 1920s British leisure culture grew exponentially during the decade, and was incorporated inexorably into the notion of a new, modern, and fashionable way of life. The new spirit of celebration created an atmosphere in Britain in which pleasureseeking enterprise flourished. New “cheap amusements” became widely popular throughout the country. With the expanding urbanization and the growing purchasing power for the lower and middle classes, interwar Britain transformed into a bright landscape where recreation ruled and was enjoyed by members of all classes. This new, modern England was a far cry from the England embodying the industrial work ethic of the midnineteenth century. Even for the affluent “leisured” class of the nineteenth century, amusements marked a transition away from private festivities to public, commercial recreation on a mass scale. To some, this transition meant that “good,” conservative, austere British culture had been supplanted by hedonistic frivolity often imported from America. To others, new, affordable amusements meant an opportunity to experience a world of luxury and freedom previously available only to the upper class who had unrestrained time and money to spend. Whereas nineteenthcentury leisure and society fostered 1 Anonymous, “Armistice Dance at the Pump Room,” Bath Chronicle 15 Nov. 1919: 27. 4 an environment of separation based on class, the 1920s indulgence ethos brought a shared popular culture to members of the British public. This thesis will focus specifically on two amusements, cinema and dance hall, which both emerged as central to the pleasureseeking culture of the 1920s. Both of these new, cheap entertainments expanded throughout the decade. Leisure enterprises built modern cinemas and palais de danse which could accommodate unprecedented crowds of dancers and film enthusiasts. Facilities in picture houses and ballrooms greatly improved from their prewar standards; improvements which created a luxurious environment for its patrons of modest means. Moreover, both cinema and dance hall began to use display advertising in newsprint, a technique previously reserved for material goods, to sell the experience of modern lightheartedness. Advertising allowed cinemas and palais not only to sell the new amusements, but also gave them an opportunity to counter disapproval posed by critics who lamented the newfound dismissal of the Victorian work ethic. With all of these commercial developments, the leisure industry grew into mass entertainment. My interest in this topic originally grew out of a curiosity about how societies move beyond mass destruction, like the Great War, and how people spend their time in the wake of national tragedy. What is more, I have long been interested in the unifying powers of popular culture, and how popular culture contrasts with the high arts like opera and theater. I see the 1920s as the moment in British leisure history when popular culture like films, dance steps, and the music that accompanied both moving pictures and dances, became, for the first time, ubiquitous. My thesis explores this theme of popular leisure as an equalizing force which allowed amusement enthusiasts from across classes to participate in the same activities. 5 In the first chapter, I discuss the social, economic, and technological changes to British society that allowed for the proliferation of popular culture. Chapter I also provides a brief history of leisure before the advent of cheap amusements. This chapter shows the ways in which increased urbanization, increased purchasing power for the lower and middle classes, and regulation of working hours all created a society ready for cheap amusements. In Chapter II, I explore the ways in which leisure’s proliferation and accessibility to all classes created a unified popular culture that was identifiable and enjoyable to many different Britons during the 1920s. Chapter III examines the opinions of a large sector of the British public who did not support the spirit of modernity and progress amusement enthusiasts associated with popular leisure. This chapter focuses on the Britons who lamented what they saw as the destruction of the traditional British character, which they defined as hardworking and austere. Although these members of the British public disliked the hedonistic pleasureseeking that cheap amusements promoted, I argue that these opponents of film and dance prove that cinema and palais de danse had become so relevant in British daily life that even people who did not directly participate in leisure consumption talked about amusements. Finally, in Chapter IV I discuss the ways in which leisure enterprises marketed themselves to the British public. In doing so, advertising teams addressed the critiques presented by leisure’s opponents introduced in Chapter III, and attempted to debunk negative publicity for modern, pleasureseeking culture. Historiography This thesis relies almost exclusively on newspapers and periodicals as primary sources. The incredible digitized archive of British publications available through the Columbia 8 place in the home, and was often self made and intermittent. Although midcentury leisure did 2 exist outside of the home, it was often under the jurisdiction of local organizing, so the availability of common leisure spaces like parks, libraries, baths and museums inevitably varied significantly in different areas of the nation. Moreover, nineteenthcentury leisure differed 3 immensely based on class. The upper class enjoyed pleasurable festivity frequently, but enjoyment often took place inside luxurious private homes, which were equipped with libraries, concert rooms, dining spaces, and even ballrooms. When the upper class did venture outside the 4 home for leisure, it was often in growing urban cosmopolitan spaces, like London’s West End, which, beginning in the 1820s, underwent an urbanizing gentrification that brought expensive entertainment to the area such as theater and opera, and, later in the century, department stores and upscale hotels. The working class, in contrast, had very little opportunity for leisure in the 5 midnineteenth century. In an 1833 letter to the Chairman of the Manchester Select Committee on Public Walks, Dr. J. P. Kay, a Manchester physician, noted: “The entire labouring population of Manchester is without any season of recreation, and is ignorant of all amusements, excepting that very small portion which frequents the theatre.” When they did find time for leisure, the 6 working class, especially men, visited pubs and participated in amateur sporting. Between 1830 7 and 1870, however, the industrial revolution created a standard of work that was based on discipline and aroundtheclock labor, which resulted in a midnineteenth century decline in 2 Asa Briggs, “Mass Entertainment: The Origins of a Modern Industry,” (Adelaide: The Griffin Press, 1960), 56. 3 Eileen Green, Sandra Hebron, and Diana Woodward, Leisure, What Leisure? (London: Macmillan, 1990), 44. 4 James Walvin, Leisure and Society 18301950 (London: Longman, 1978), 11. 5 Judith R. Walkowitz, Nights Out: Life in Cosmopolitan London (New Haven: Yale University Press, 2012), 19. 6 J. P. Kay, “Letter to R. A. Slaney, MP, Chairman of the Select Committee on Public Walks 1833” in Edgar Royston Pike, Human Documents of the Industrial Revolution (London: George Allen & Unwin, 1966), 356. 7 Andrew Davies, Leisure, gender and poverty: Workingclass culture in Salford and Manchester, 19001939 (Buckingham: Open University Press, 1992), 55. 9 leisure time for workers. These divides in nineteenthcentury amusement accessibility and 8 options created a society in which free time and enjoyment were completely segregated based on class and geography. Although amusements did exist during the nineteenth century, the new leisure of the 1920s represented a distinct departure from nineteenthcentury entertainment culture. Cinema and dance hallgoing were relatively new practices that emerged during the turn of the century and developed over the first two decades of the twentieth century. Cinema came to Britain before dance hall. The first motion picture premiered in London in 1896. Shortly thereafter, London 9 saw the rise of movie houses, film palaces, and the threepenny cinema. Film grew rapidly in 10 popularity between 1906 and 1914, serving mainly a workingclass audience and infiltrating the world of variety theatres. By 1914, there were approximately 3,000 cinemas in Great Britain. 11 12 The onset of war meant many of the established film makers in England turned to patriotic subject matters, either commercially or as official war propaganda. Wartime restrictions made 13 filmmaking difficult, and air raids affected film studios and early cinemas in London. 14 Furthermore, by 1917, many of the young men who worked in British film industry had gone off to war. Despite setbacks the cinema industry faced during the war, film continued to evolve as 15 an integral part of British culture. In fact, the war itself was seen by many to legitimate the need for cinema in British life, a justification which lasted long after the war's end. As a Daily Mail 8 Walvin, Leisure and Society, 5. 9 Briggs, “Mass Entertainment,” 6. 10 Ernest Betts, The Film Business: A History of British Cinema 18961972 (New York: Pitman Publishing Corporation, 1973), 25. 11 Betts, The Film Business, 33. 12 Walvin, Leisure and Society, 133. 13 Betts, The Film Business, 54. 14 Betts, The Film Business, 55. 15 Betts, The Film Business, 55. 10 correspondent noted in 1926, “The kinema played an invaluable part during the war. It brought a temporary and most beneficial rest from worry to the harassed and anxious civilians, and, whenever possible, to soldiers, too.” The war gave cinema a positive justification, and the 16 period of celebration that followed the signing of the armistice served as the catalyst for a culture in which leisure was king. On the eve of the 1920s, the cinema industry was already well established and was set on a path to continue its growth in popularity throughout the decade. Dance halls, in contrast, did not exist in their 1920s form in the preGreat War world. An entirely new industry needed to be created specifically for popular dancing. Much like the relaxation justification for cinema that came out of First World War ideology, the dance hall “craze” originated out of the celebration at the end of the war. “Dances,” organized social occasions to learn and join in the latest popular dance moves, began cropping up in 1917 and 1918. After the armistice, dances were continued in the interest of promoting public fun, 17 leisure, and celebration. The social dancing culture that started in the immediate postwar had a 18 codifying turning point in 1919, when the Hammersmith Palais de Danse – the first dance hall in Britain – opened in west London. Hammersmith meant that the dancing fad, which started in 19 the late 1910s, had become popular enough to need its own space. Once the popularity of social dancing was identified, it was possible for dance to become a widely popular activity over the course of the 1920s. Indeed, dance culture progressed to a popular phenomenon within the year, a trend which continued to develop, spread and commercialize throughout the 1920s. Even at the beginning of 1919, one commentator noted: “It has been said in times gone by that England had 16 Iris Barry, “What We Owe to the Kinema,” Daily Mail Atlantic Edition, 30 June 1926: 4. 17 Alison Jean Abra, “On With the Dance: Nation, Culture, and Popular Dancing in Britain, 19181945” (PhD Diss., University of Michigan, 2009), 26. 18 Walvin, Leisure and Society, 130. 19 Abra, “On With the Dance,” 129. 13 venues to remain open late into the night. Transportation in Britain during the early twentieth century advanced within cities themselves and improved ease of travel from country to city, further expanding the population who could access citybased cinemas and dance halls, if only on a special visit. By the end of the nineteenth century, the railways covered a massive expanse of the country. Above ground rail was a huge factor allowing for ease of travel, and also 26 influenced the flow of suburbanization, as rail provided easy access from residential neighborhoods into city centers. Growth in transportation within metropolitan areas also 27 affected leisure's ability to grow as an industry. By the first decade of the twentieth century, London had electrified underground tube stations at Oxford Circus, Piccadilly Circus, Tottenham Court Road, and Leicester Square. A commentator in 1906 noted the tube's utility in and 28 around the city: Tube railways furnish the urban distribution facilities required, and if extended as surface railways into the suburban districts, as is proposed in the case of the Charing Cross, Euston, and Hampstead Railway, or linked up with suburban tramways, as in the case of the new railway, provide effectively for suburban collection and terminal diffusion. 29 This observer, like many in the first decades of the twentieth century, saw rail travel as the answer to London's notorious traffic problem, as the aboveground streets were already packed with relatively new but already widespread forms of public transport, such as motorcars, buses, and trams. Transportation improvements, particularly electrified underground stations, meant 30 26 Bédarida, A Social History of England, 212. 27 Briggs, “Mass Entertainment,” 9. 28 Walkowitz, Nights Out, 19. 29 Anonymous, “Tubes and London Traffic,” Saturday review of politics, literature, science and art 102 (December 15 1906), 731. 30 Betts, The Film Business, 26. 14 suburban dance hall visitors or cinema goers could easily make a full day trip to the city and purchase a picture ticket or go out to dinner before a night at the dance hall. Transportation expansion also meant that visitors from the British countryside and from abroad could participate in the consumption of urban leisure. Tourism became big business in the 1920s. Writing in 1932 about London in the 1920s, acclaimed screenplay and short story 31 writer, John Collier, and his coauthor, Iain Lang, lamented tourism’s invasion of the capital: The scramble for tourists' money degraded whole areas of London. Reputable shops, forgetting the generations of stubborn chastity and proud modesty that had brought them repute, turned to harlotry, shamelessly importuning the passer by … The city shed part of its dignity and at least half of its charm in its vulgar anxiety to profit by the entertainment of the wealthy visitor from abroad. 32 Clearly, evolving transportation in and around London and other major cities meant that entertainment could become a source of income directed at a larger audience. Ease of transportation in the 1920s also aided the growth of cinema and dance hall outside of major cities. The interwar period saw a growth in the popularity of seaside holiday, and vacationing became an attainable luxury for a larger sector of the British public. Both cinema and dance 33 hall venues began to crop up in popular holiday destinations, such as Brighton and Blackpool. 34 Tourism, promoted by increased ease of transportation, meant that dance hall and cinema became players as a part of a larger trend towards consumption, spectacle, and sight seeing centered around big cities and popular vacation destinations. 31 Anonymous, “The Dancing Holiday,” Daily Mail, 23 Feb. 1922: 4. 32 John Collier and Iain Lang, Just the Other Day: An Informal History of Great Britain Since the War (London: Harper & Brothers Publishers, 1932), 27. 33 Bédarida, A Social History of England, 208. During the Interwar Period, holidays became possible for the lowermiddle and working classes because of bargaining for government regulation on working week hours. Socioeconomic changes during that time also impacted cheap amusement’s ability to grow on a mass scale. 34 Abra, “On With the Dance,” 150. 15 Urban growth, transportation, and new technologies all contributed to a notion that, by 1920, the world was becoming increasingly modern. This changing spirit, especially in London, where new cosmopolitan urbanization flourished, became the context in which cinema and palais de danse thrived. After the armistice, the atmosphere in London turned away from the 35 strict rule of austerity during the War, whose restrictions spread a blanket of dreariness over the city. Restrictions on hours of operation for public houses and drinking venues lasted in the 36 immediate postwar years, but began to lift during the early 1920s. Additionally, the hardwork 37 ethos of Victorian England began to break down, giving way to a modern distinction between work time and leisure time. Pleasureseekers began to explore ways to look to a new future for 38 London, one that would be defined by a bright, modern, and forwardlooking outlook. The campaign for a Brighter London was spearheaded by the Chelsea Arts Club Ball, whose 1922 theme was, “'Brighter London One Hundred Years Hence.'” Of the event, the Times reported, 39 “Their programme included, in accordance with the tradition of this ball, five other new numbers, all of them foxtrots. The masquerading was as picturesque as ever. Dancing continued until 5 a.m.” Clearly, from its inception, the concept of a “bright London” was closely 40 associated with popular leisure and modernity. This shows the inexorable connection between the wellbeing of the city and the prosperity of amusements during the 1920s. “Brighter London” became a sort of slogan to rally around making the city a better and brighter place to live, and 35 Walkowitz, Nights Out, 145. 36 Collier and Lang, Just the Other Day, 22. 37 Andrew Davies, “Cinema and Broadcasting,” in Paul Johnson, ed., TwentiethCentury Britain: Economic, Social, and Cultural Change (London: Longman, 1994), 263. 38 Davies, “Cinema and Broadcasting,” 264. 39 Ronald Blythe, The Age of Illusion: England in the Twenties and Thirties 19191940 (Boston: Houghton Mifflin Company, 1964), 15. 40 Anonymous, “Court Circular,” Times, 9 Feb. 1922: 13. 18 consisted primarily of tradesmen, small businessmen, shop assistants, and commercial sector workers. Somewhere in between the proletariat and the established upper middle class, the 48 lower middle class served as a perfect audience for new forms of leisure because, as a class, they had a sense of deserving a “better” standard of living, but still had the economic blockage that prevented them from participating in traditional “high” culture amusements. Although the 49 emerging and expanding middle class was vital to the growth of mass culture, it was not the only social sector to enjoy cinema and dance hall. Without the redistribution of social class towards 50 a middle class, entertainment amusements would not have been able to reach the same number of people during the 1920s. The middle class was not the only expanding demographic that impacted the leisure industry's growth and development during the 1920s. Dance hall, cinema, and the new pleasureseeking lifestyle that developed around them was, for the most part, enjoyed by young workers. Unmarried youth, many of them moving to urban centers for work, could afford the cheap amusements offered by the cinema and dance hall. Over the course of the interwar 51 period, average income for working individuals, male and female, aged fourteen to twentyfive, increased between 300 and 500 percent. This spending power meant that the 1920s generation 52 had an unprecedented pocket money to put towards new amusements. Contemporary commentators fully recognized the special new qualities of the 1920s youth. Writing in 1923, the English writer, poet, and philosopher, C. K. Chesterton, remarked, 48 Bédarida, A Social History of England, 208. 49 Bédarida, A Social History of England, 208. 50 Ross McKibbin, Classes and Cultures: England 19181951 (Oxford: Oxford University Press, 1998), 391. McKibbin discusses these forms as creating a democracy of culture because they were popular among all social classes. 51 Helen Greig Souter, “Bachelor Women in London,” Quiver, February 1925, 381. 52 David Fowler, The First Teenagers: The Lifestyle of Young WageEarners in Interwar Britain (London: The Woburn Press, 1995), 93. 19 “It is said that every generation is in revolt against the last; but the change between the last two generation is rather unique.” Clearly, the ability of young people to spend money on emerging 53 leisure activities meant a divergence both from spending abilities and habits of their parents' generation. In fact, during the interwar years, young, single people from working class backgrounds experienced a much higher standard of living than the other members of their families. It was not only working class and lower middle class youth, however, that participated 54 in dancing, cinemagoing, and other habits of the leisure industry. Affluent young people also became consumers of leisure culture in droves, and the amusement enterprise developed in order to cater to youths of different spending ability. For example, the 1920s saw the emergence of different tiers of cinemas, including the more expensive city center picture houses. This 55 division also existed for dance halls, with uppermiddle class youth experiencing the latest dance craze at scheduled dances or charity balls at clubs, hotels, or restaurants, while lowermiddle class youth visited dance halls in different neighborhoods. Despite these discrepancies in venue 56 and neighborhood, young people of the 1920s were, for the first time, experiencing the same cultural activity because of their age, not because of their class. This shared experience of popular amusements and a communization of affordable entertainment within the youth environment meant a further democratization of leisure activity. Rich or poor, a British 57 nineteen year old in 1927 likely knew how to foxtrot. With the youth across the socioeconomic gamut participating in 1920s amusements, the leisure industry was able to expand its audience and gain popularity on a widespread scale. 53 G. K. Chesterton, “How to be Happy though Young,” Nash’s and Pall Mall Magazine 71, 1923, 19. 54 Fowler, The First Teenagers, 95. 55 Claire Langhamer, Women’s Leisure in England 19001960 (Manchester: Manchester University Press, 2000), 61. 56 Langhamer, Women’s Leisure, 67. 57 McKibbin, Classes and Cultures, 391. 20 Of the youth demographic that made up the vast majority of audiences for dance hall and cinema, young women constituted a large portion and became consumers of the leisure industry. Women’s place in British society had been evolving significantly since the midnineteenth century. Between 1850 and 1880, educational reforms meant the creation of secondary schools for girls and the acceptance of women at major universities, including Cambridge and Oxford. 58 The Married Woman’s Property Acts of 1870 and 1882 allowed wives to regain possession of property obtained both before and after marriage. After a long struggle for suffrage, women 59 gained the right to vote in 1918. These social and political gains meant that, by the 1920s, 60 British culture was seeing the breakdown of the Victorian ideal of woman as the guardian of the household. What is more, women’s financial independence was improving. With the rise of 61 industrial capitalism, the number of women in the workplace grew and women’s work, which was previously relegated to the domestic sphere, was given a monetary value. Although this 62 progression marked a significant shift in women’s spending capabilities, it also created a gendered work environment, which compartmentalized “women’s work” from “men’s work” in the public sphere. This meant that women’s participation in certain professions expanded. By 63 1929, one fourth of all civil service employees were women. The number of women teachers in 64 Britain jumped from 70,000 in 1851 to 172,000 in 1901, and women were well represented in public service and as nurses, dentists, and librarians by the turn of the century. After the 65 58 Bédarida, A Social History of England, 122. 59 Bédarida, A Social History of England, 122. 60 Green, Hebron and Woodward, Leisure, What Leisure?, 47. 61 Green, Hebron and Woodward, Leisure, What Leisure?, 42. 62 Bédarida, A Social History of England, 121. 63 Green, Hebron and Woodward, Leisure, What Leisure?, 46. 64 Bédarida, A Social History of England, 205. 65 Bédarida, A Social History of England, 122. 23 on a widespread scale. Because cheap amusements were both accessible and identifiable to a substantial portion of the British population during the 1920s, they became mass activities that acted as popular and unifying points of cultural reference. “Wherever you look”: The Proliferation of Dance Hall and Cinema Leisure's expanded popularity was a function of the spread and success of cheap amusements. The most important factor of growth for both cinema and dance hall was the simple fact that they were widely available, which meant that Britons looking for enjoyment did not have to search far. The first British palais de danse, Hammersmith Palais, opened in London in 1919. Hammersmith’s opening marked a new trend in dancehall size and status that was markedly different from prewar ballrooms and other public dance spaces. The novel 73 Hammersmith Palais, measuring 27,000 square feet, was remarkable for the sheer number of dancers and bystanders it could accomodate. The Daily Mail’s original 1919 announcement of 74 Hammersmith’s opening clearly expresses astonishment at the number of people the hall would be able to hold: Hall for 2,000 Jazzers: What, it is claimed, will be one of the largest dancing halls in the world a floor area of 27,000 square feet capable of accommodating 1,000 couples at one time is about to be opened in the Broadway, Brook Greenroad, Hammersmith. It will be known as the ‘Palais de Danse.’ 75 For the first time, dance spaces were able to welcome mass numbers onto their floors, which meant more people had access to popular dancing. 73 McKibbin, Classes and Cultures, 393. 74 Abra, “On With the Dance,” 133. 75 Anonymous, “Hall for 2,000 Jazzers,” Daily Mail 29 Mar. 1919: 3. 24 Not only were palais de danse able to accommodate more interested pleasureseekers in the 1920s, but soon major British cities also saw an influx of dancehalls, restaurants, clubs and other spaces with dance floors and dancing hours. Between 1919 and 1926, an estimated 11,000 dancing establishments were erected throughout the country. The availability of dancehalls was 76 noteworthy to contemporary commentators. In 1925 the Manchester Guardian reported many British people felt “that they were becoming surrounded by dancing saloons.” In the same vein, 77 Anna Pavlova, the worldfamous ballerina, wrote to the Daily Mail in 1925, claiming: “Wherever you look there is a new Palais de Danse. Everywhere strange music throbs.” 78 Clearly, the ubiquity of palais became established over the course of the decade, meaning that leisure was easily attainable for those who were interested. By 1929, the Manchester Guardian noted: “In London alone there are nearly a hundred hotels, dance halls, schools, clubs, and palais de danse from which to choose when deciding where you are going to spend the evening.” This 79 diversity of options for dancing meant the leisure activity had expanded into a widely available good; it was everywhere. Cinema, as the older of the two amusements, had a slightly different path of development than palais de danse. Whereas the British dancing “craze” did not develop until after the 1919 opening of Hammersmith Palais, cinema was already a wellestablished amusement with large audiences at the beginning of the 1920s. Cinema’s position as an integral part of British daily life was therefore substantially better established than that of dance hall. According to a study published by the Cinema Commission of Inquiry of the National Council of Public Morals in 76 Abra, “On With the Dance,” 134. 77 Anonymous, “Growth of Dancing,” The Manchester Guardian, 1 Oct. 1925: 17. 78 Anna Pavlova, “This Dancing Age,” Daily Mail Atlantic Edition, 22 Nov. 1925: 4. The title of this subsection is taken from this article. 79 Anonymous, “Dancing Popularity: A Change of Spirit,” The Manchester Guardian, 1 Jan. 1929: 6. 25 1917, there were approximately 4,500 cinemas in the British Isles, with 1,075,875,000 attendances over the course of a single year. Although cinema already had an established 80 presence in British culture, its prevalence continued to grow during the 1920s age of leisure. In 1911, there were 94 cinema in London, with a total seating capacity of 55,000. By 1931, this number had grown to 258 cinemas with a seating capacity of 344,000. What is more, the 1920s 81 saw the rise of the “supercinema,” spaces which could accommodate much larger audiences than small, prewar picturehouses. In 1922, the Daily Mail announced the opening of a 82 “superkinema” in London, remarking, “should negotiations be completed there will be built a new superkinema, capable of holding 4,000 people, which, it is claimed, will be without rival in this country.” As was the case with palais de danse, the growth of cinema during the 1920s was 83 characterized by both an increase in the number of overall cinemas in the country and by a massive expansion in their ability to accommodate larger audiences. Cinemas, like palais, became more accessible as their capabilities expanded. Leisure’s Expanding Audience With the numbers and capacities of British dance hall and cinema expanding the size of audiences, the types of participants also began to grow and diversify. The primary audience for 1920s “cheap” amusements was young urban workers, especially young women . The largest 80 The National Council of Public Morals, “The Cinema: its present position and future possibilities,” report taken by the Cinema Commission of Inquiry (London: Williams and Norgate, 1917), xxi. This number reflects total ticket sales, rather than how many individuals attended the cinema in a single year. Although it seems like a preposterously high statistic, David Fowler notes that, by the early 1930s, it was not unusual for young wage earners to visit the cinema three times per week. See Fowler, The First Teenagers, 116. 81 Jones, Workers at Play, 44. 82 Davies, “Cinema and Broadcasting,” 270. 83 Anonymous, “SuperKinema Scheme,” Daily Mail, 23 Feb. 1922: 7. 28 The symbolic significance of the Prince giving his “official seal of approval” to the palais meant that this leisure activity, and the very same dance halls attended by the dancing masses, were fit for a king, or, at least, for a prince. The audiences for both cinema and dance hall, although mainly comprised of young, working class women, grew throughout the 1920s to include varied age ranges and socioeconomic classes. Both cinema and palais de danse clearly drew audiences from a myriad of different backgrounds, but perhaps the most notable feature of the audience for cheap amusements was its sheer scope. With palais and cinemas constantly cropping up across the country, these entertainment forms were able to reach huge numbers of audience members and participants. Writing in 1921, Arthur Weigall, noted British cinema critic and journalist, described the distinct audience cinema achieved worldwide as follows: It is to be remembered that a popular photoplay is seen by scores of millions of persons throughout the globe: there has never before been such a means of publicity. The newspaper with the largest circulation on earth is a mere mouse in the presence of this mammoth, and the 'best seller' in the bookworld is, by comparison, something still smaller. Even ChuChinChow, with the actors growing grey in their roles, cannot touch more than a small part of the vast public which views a successful film shown for the space of no more than three days at any one theatre. 95 Clearly, contemporary observers understood the unprecedented audience mass leisure entertainment provided. The newfound scale of audiences meant that many individuals in Britain, and indeed around the globe, were experiencing cheap amusements. “The West End for the Many”: The Homogenization of Popular Culture 95 Arthur Weigall, “The Influence of the Kinematograph upon National Life,” The Nineteenth Century and After: A Monthly Review LXXXIX (1921): 661. Chu Chin Chow was a widely successful musical comedy which premiered in London in 1916. 29 With the growth of cinema and dancehall audiences, one of the cornerstones of 1920s leisure became its ability to create a relevant cultural reference point across the social classes. For the first time, British patrons from diverse socioeconomic backgrounds were visiting the same palais and cinemas. What is more, amusement’s ability to provide inexpensive luxury to classes who had never experienced it before meant that workingclass palais and cinemagoers felt that they were being provided the same quality of leisure as the upper class. In this way, cheap amusements allowed a broad range of classes to enjoy the same leisure activities at the same quality standard. The 1920s, therefore, marked a period of homogenization of popular culture. Many contemporary commentators agreed that the mark of cheap amusement’s success was in its ability to provide highquality enjoyment at an affordable price. In 1923, the Manchester Guardian noted: There are cheap night clubs, excellently managed and with good food, where thousands can sup, dance, and enjoy cabaret amusements, and restaurants quite as stupendous in glitter and gaiety as the richest party could desire. There are, too, palais de danse on a tremendous scale, with beautiful floors and boxes often tenanted by picturepostcard people. Further developments in the way of providing a West End for everyone are being planned by various astute and enterprising people. The kinemas, of course, have contributed their big part to this movement. 96 Bringing the “West End” to all meant proliferation of similar interest in “glitter and gaiety.” This phenomenon of extending amusements at a popular level marked a departure from the old tradition of the “leisured” classes and the masses spending their time in markedly different ways. Many contemporary observers commented on the idea that providing luxury at an affordable price created common cultural ground among varied classes. In 1919, the Daily Mail reported 96 Anonymous, “Our London Correspondence,” The Manchester Guardian, 31 Dec. 1923: 6. The title of this subchapter is taken from this article. 30 that: “[dancing] is as great a joy to the poor as to the rich. There are no mechanical aids for millionaires only.” In 1924, one Manchester Guardian article described London's approval of 97 allnight dancing licenses for hotel dance halls as a success for those masses “who desired to dance as well as welltodo people.” With expanded access to the luxury of leisure, crossclass 98 shared experiences and interests became commonplace. It was in large part the provision of luxury that aided cheap amusement in its ability to act as a vehicle for the homogenization and universalization of popular culture. In 1923, the Manchester Guardian concluded, “The increasing democratization of what used to be called West End life must have been noticed by all observers.” With luxury increasingly becoming an 99 equalizing rather than a dividing force, cinema and popular dancing became common cultural references for its expanded audience of rich and poor, young and old. In 1920, The Observer commented on cinema's future role as a cultural unifier: “If it elects to use wisely the power it has of appealing equally to high and low, lettered and unlettered, its coming will have been an incalculable gain to society.” Again in 1927, The Observer remarked, “The screen is universal 100 because all men see it with the same eyes.” This universalizing element was also notable for 101 dance hall. According to a 1919 Daily Mail article, the dancing boom was culturally relevant to a wide population of the British public: “Society men and girls dance, business men and girls dance, working girls and men dance, every sort and of girl and boy dance: all have been caught up in the enveloping wave of dancing which is sweeping over this country.” The 102 97 Anonymous, “The Dancing Holiday,” Daily Mail, 27 Dec. 1919: 4. 98 Anonymous, “AllNight Dancing in London: Applications Approved,” The Manchester Guardian, 6 Feb 1924: 7. 99 Anonymous, “Our London Correspondence,” The Manchester Guardian, 31 Dec. 1923: 6. 100 Anonymous, “Another Gain for the Cinema,” The Observer, 18 July 1920: 12. 101 Anonymous, “The Art of the Cinema,” The Observer, 2 May 1927: 10. 102 Anonymous, “The Mania of the Moment Dancing,” Daily Mail, 8 Jan 1919: 7. 33 palais de danse are among the most notable signs of our time.” Clearly, this Daily Mail 105 reporter took the rapid growth in popularity of leisure culture, especially the “mushrooming” of dance, as an integral mark of the era. The dancing “craze,” which proliferated in popular culture so rapidly that it became emblematic of the modern world, meant that dancing had become decidedly fashionable. In a 1925 article, the Daily Mail argued that the masses: … dance because they are bored when they aren't dancing; and you can pick them out because their souls come into their eyes when the band starts – a sort of fishy look. Closely allied are the unfortunates who are Afraid of Not Dancing. This is much the same as dancing because it happens to be the fashion; and the earnest devotees follow the news closely to be sure of being right on time with the Charleston or the Continental tango or whatever the dance of the moment may be. 106 The author clearly highlights dancing’s popularity and characterizes it as a fad. The fashion was so potent, so overwhelmingly prevalent, that the Daily Mail supposed that many of the dancing masses were “afraid of not dancing,” a statement which implies that, to be included in the popular culture scene, one had to participate in the new cheap amusements. Being part of the palais de danse scene meant being fashionable. Because cinemagoing was already an enduring pastime by 1920, it did not undergo a “craze” in the same way as dance hall. Nevertheless, cinema was notably fashionable, and was often incorporated into descriptions of the modern age. Priestley again made cinema’s inclusion in this fashionable modern world clear: This is the England of the arterial and bypass roads, of filling stations and factories that look like exhibition buildings, of giant cinemas and dancehalls and cafés, bungalows with tiny garages, cocktail bars, Woolworths, motorcoaches, wireless, hiking, factory girls looking like actresses, greyhound racing and dirt tracks, swimming pools, and everything given away for cigarette coupons. 107 105 Anonymous, “Dancing as an Aid to Efficiency,” Daily Mail Atlantic Edition, 4 June 1926: 7. The title of this subsection is taken from this article. 106 D. H. MacLaren, “Why They Dance,” Daily Mail Atlantic Edition, 12 Dec. 1925: 2. 107 Priestley, English Journey, 319. 34 All of these modern developments, including the new leisure practices, clearly marked a momentous shift, not only for amusment’s participants, but for the country’s cultural landscape as a whole. Because of its availability and democratizing power, the fashionable “craze” created by dancehall and cinema meant that cheap amusements rose to the forefront of British popular culture. 35 Chapter III “A Certain Frivolous Universality”: Anxieties Over Popular Culture and the Growth of Cheap Amusements I wonder why each flapper looks so fortunate, Why frocks and films (“as advertised”), importunate; Why every valet deems himself a hero; Why bunkum grows while income sinks to zero. – Lloyd Goerge and fry, I wonder why. –“I Wonder Why,” Saturday review of politics, literature, science and art, 3 January 1920. There is a veritable craze of “youthworship” today among the nations … the only qualities to complete success are youth, the capacity to dance, eat candy and wear clothes … Youth the happiest time? Without a shudder of horror at the heresy, I hereby declare with my hand on my heart that generally speaking, this time of one’s life is definitely the least happy. –Margery Lawrence, “Youth – the OverRated,” Nash’s Magazine, July 1928. Despite the enthusiasm for and rapid growth of the new mass culture of leisure, there was no dearth of criticism of the public's new penchant for cheap pleasures. Individuals, religious groups, public officials and members the older generations all spoke out against what they saw as hedonistic new pastimes. As there is not enough space here to treat all of these complaints, this chapter will focus on a few of the most prominent anxieties over new leisure practices during the 1920s. Adversaries of cheap amusements focused on the negative impact that cinema and palais de danse purportedly had on young people, claiming that participating in these popular culture activities damaged young people’s physical health and exposed them to violence and sex. Additionally, critics cast cinema and dance hall as hedonistic pastimes that encouraged young 38 with the notion that a “mania” or “craze” was sweeping across the country. In this article, the Cinema Commission is taking a preventative measure, attempting to regulate the frequency, hour, and content of films young people should be able to see. This attempt seems to be a response to a perceived excess in leisure consumption, as its focus is on moderation and prevention. Young people’s mental health was also a concern for dancing. After a children’s dance held at a dance hall in Bath in 1924, The Bath Chronicle posed the question, “Is the ‘Blues’ dance aptly named for the reason that it is conducive to mental depression?” The article goes on to 112 mention that “the ‘Blues’ is danced in a very gloomy manner in some ballrooms.” Clearly, 113 both dancing and films raised concerns about “mental strain” or “mental depression,” factors which called into question the perceived detriment to mental wellbeing. Fears about modern amusements’ impact on both the mental and physical health of the British youth permeated amongst critics who believed it was in the country’s best interest to quell leisure “mania.” Inappropriate Behavior at the Cinema and Palais Many concerned about leisure’s impact on young people also took issue with the immoral nature of certain films and dances, as well as with the dangers posed by the cinemas and dance halls in which they took place. Additionally, as cinemas and palais grew as meeting places for young people to socialize without parental supervision, many commentators raised concerns that popular leisure fostered unsuitable dating habits. Additionally, both films and dancing were criticized for their encouragement of violence. In 1917, the Times announced: 112 Anonymous, “Children’s Dance,” The Bath Chronicle, 29 March, 1924: 15. 113 Anonymous, “Children’s Dance,” The Bath Chronicle, 29 March, 1924: 15. 39 A joint committee of justices and members of the Education Committee formed in 1916 to consider the question of juvenile crime reported in October last that nearly all the witnesses were agreed that constant attendance at cinematograph theatres had an injurious effect on juvenile mind and character. 114 Cinema attendance was clearly thought to be so detrimental to young audiences that it could cause them to resort to criminal activity. What is more, the rhetoric used in the Times again indicates that it was not film and entertainment altogether that led to violent actions, rather it was this “constant” overindulgence in amusement. The obsession with enjoyment was clearly the dangerous element. Over the course of the 1920s, and even into the early 1930s, many Cinema Committees and sociological survey groups continued to argue that constant cinema attendance was responsible for the juvenile (aged 1621) crime rate. The film and violence theory was 115 commonly held in Britain until about 1927, when the criminologist Dr. Cyril Burt dismissed cinema’s effect on crime. The debate over film influencing juvenile crime underscores the 116 way in which widespread anxiety over constant amusement manifested in public discourse. Violence was also a concern for patrons of palais de danse. Although these concerns never engendered the same kind of mass correlation between crime rates and dancing, many concerned citizens still voiced unease with the violent implications certain dance steps had. In 1926, the Daily Mail announced: Fierce controversy about the Charleston a variation on the foxtrot promises to be a feature of the London winter dancing season. While managers of fashionable and popular ballrooms are inclined to frown on this dance, because of the violent kicking steps with which it is so often accompanied, there are signs that people will insist on dancing it. An official of a West End danceclub told a Daily Mail reporter yesterday that the dance was being banned as far as possible, because it caused stockings to be torn and legs to be bruised, but about 15 per cent of the dancers performed it. 117 114 Anonymous, “Cinema Influences,” The Times, 16 Jan. 1917: 5. 115 Fowler, The First Teenagers, 128. 116 Fowler, The First Teenagers, 130. 117 Anonymous, “The Kicking Dance,” Daily Mail, 16 Sept. 1926: 7. 40 Here again is the implication that pleasureseekers who participate in cheap amusements cannot stop. The Charleston is cast in this article as almost addictive, as young people were dancing the step even though it was banned for its violent nature. The theme of insisting on leisure activity touches upon the anxiety over the perceived incessant consumption of frivolity which fed antileisure “craze” sentiment. Not only were films and dancing faulted for leading to violence, they were also concerning for their implications on youth sexuality and dating culture. During the 1920s, both cinemas and palais de danse became popular spaces not only because of the leisure they provided, but also because they were meeting spaces where young people could enjoy each other’s company outside of the reach of parental control. This meant that going to the cinema 118 or palais developed as popular dating options. Dating culture was reflected in many of the 119 worries expressed about leisure. In 1924, the Daily Mail published a story by a woman calling herself a “commonsense mother,” claiming that she had tricked her son into not marrying the “wrong type of girl” by inviting the young woman to her home instead of forbidding her son from seeing the woman. This mother claimed: If I had acted otherwise I am convinced that my son would have become engaged to this girl. He would have dismissed any dislike or misgivings shown or expressed by me as mere prejudice. Cut off from the opportunity of meeting the girl at home, he would have had recourse to the kinema, the music hall, and the palaisdedanse. 120 This selfproclaimed “commonsense mother” denounces new leisure venues as places where boys, like her son, whom she presumably considers an upstanding young gentleman, can mix 118 McKibbin, Classes and Cultures, 395. 119 Fowler, The First Teenagers, 131. 120 Anonymous, “CommonSense Mothers,” Daily Mail, 30 Aug. 1924: 6. 43 “Americanising Our Young People” Another widespread concern about dance hall and cinema's emergence as a “craze” in Britain was the sense that it promoted the excessive influence of American popular culture. Many British commentators expressed concern over the lack of British film production, and feared that cinemas were outlets for America to assert supremacy over British culture. Additionally, some Britons lamented the popularity of American and other foreign dance steps at the palais. The fear of “americanization” not only manifested itself by a worry over the influence of American popular culture, but was also represented by a generalized anxiety over a decline in the influence of the British Empire. The question of the importation of Hollywood in Britain was huge. To summarize this widespread fear, Daily Mail reported in 1925: The Americans had realised that the kinema was a heavensent method of advertising themselves, their country their methods, their wares, their ideas, and even their language and had seised on it as a method of persuading the whole world that the United States was really the only country that counted. 125 This Daily Mail article squarely placed the blame on America, claiming that the United States was purposefully using cinema as a tool to promote a “superior” American way of life. The British response to the influence of American culture also went beyond the condemnation of American cultural proselytizing, to outright danger, as one 1926 Manchester Guardian headline put it: “The kinema danger: Americanising our Young People.” Clearly, this anxiety was again 126 125 Anonymous, “U.S. Film Monopoly,” Daily Mail, 16 May 1925: 6. The fear of American influence played into both British anxieties and contributed to a concentrated effort to recruit British film production, and a public debate in media outlets over whether or not British cinemas should even be allowed to show American films. The vast majority of the articles and editorials appearing about cinema during the 1920s in the Daily Mail, the Times, the Manchester Guardian, and the Observer dealt in some way with the Americanization of leisure consumption. 126 Anonymous, “The Kinema Danger: Americanising our Young People,” The Manchester Guardian, 23 March 1926: 4. The title of this subchapter is taken from this article. 44 focusing its ability to influence the British youth. Moreover, many Britons regretted the American domination of the film industry because they feared it meant that the British Empire was lagging behind. In 1919, the Daily Mail reported that “British film producers are making a big effort to secure a share of the world’s film market. At present nine out of ten films shown to British audiences are American.” Here, American control over film is presented as a problem 127 that needed to be combatted. This interest in supporting British film clearly stemmed from a larger fear that American influence would outweigh British influence throughout the entire Empire. A 1924 Daily Mail article warned about American film’s ability to usurp British culture: It seems unnecessary to emphasise the vital importance of maintaining a steady flow of British pictures, both in this country and in the Overseas Dominions; for no one can blind himself to what is at once the most powerful medium for propaganda in the world and a source of entertainment for the great mass of its population … They are imperceptibly taught to think according to American lights and to see things from an American standpoint with American ideals. 128 The importance set upon revitalising the British film industry reflects the rising fear that American command of the film industry threatened to influence the viewpoints and ideals of the British masses. The popular dancing “mania” was also said to be subject to American influence. In 1921, the Times summarized the conclusions made at the Imperial Society of Dance Teachers annual dinner and dance. In the words of the Times columnist, the Society believed that: England had long been the dumping ground for Continental and American concoctions, and the time had come for this to cease. British teachers had the faculty of invention, and London should henceforth become the cultured dancing centre of the world. 129 127 Anonymous, “An H. G. Wells Film,” Daily Mail 7 Jan. 1919: 6. 128 Anonymous, “Film Studios Idle,” Daily Mail 17 Nov. 1924: 9. 129 Anonymous, “Modern Dances At State Balls,” The Times 16 July 1921: 12. 45 As was the case with fears of American influence over films, the problem with American dancing steps was twofold. This Times reporter is worried about American dance “concoctions” shaping the popular dance, but also saw a need to assert British authority over the world of cheap amusements. Clearly, concern over American influence over film and dance created an interest in fostering British amusements. Americanization and the other anxieties presented in this chapter all represented a distaste for the new and the modern, and disliked the new generation of pleasureseekers’ rejection of old, British values. 48 announcements. The standard format for this type of notice consisted of a small column of 130 textonly information about shows and events. A nineteenthcentury Times reader interested in a theater, opera, or music hall showing would see a visually austere posting that gave logistical information, for example: Theatre Royal, DruryLane. Lessee and Manager, Mr. James Anderson. This evening, The Lady of Lyons. Claude Melnotte, Mr. J. Anderson; Beauseant, Mr. W. Montague; Glavis, Mr. J. Parry; Pauline Deschapelles, Miss Vandenhoff; the Widow Melnotte, Mrs. Griffth. To conclude with Harlequin and Good Queen Bees. 131 This informative publicity for leisure and cultural activity continued in The Times through the early twentieth century, and its pattern was common for amusement advertisement during the late nineteenth and early twentieth centuries. By the 1880s, The Derby Daily Telegraph (Derby, England), The Manchester Guardian (Manchester, England), and The Observer (London, England) all had established “Entertainments” advertisement segments. Although the 132 “Entertainments” sections demonstrated an effort to organize amusement publicity, the columns only gave bare minimum informative details; they did not include the hallmarks of modern advertising such as slogans or images. The standard structure for nineteenthcentury entertainment notices in British newspapers and periodicals was not set up to sell an attraction in any modern advertising sense. If a nineteenthcentury theater enthusiast knew he wanted to go to a show, he simply looked up the time and venue in the newspaper. Notices were not meant to sell leisure to a mass audience, they were meant to inform the leisured elite. Nineteenthcentury leisure enterprises did not yet need to sell amusements like consumer goods. 130 See Appendix A. 131 Anonymous, “Theatre Royal, Haymarket Tri,” Times, 2 Jan. 1850: 4. 132 See Appendix A. 49 During the first decades of the twentieth century, amusement advertising began to show the first glimmer of leisure's commodification. Beginning in 1904, variety theatres, most notably the London Coliseum, took out fullpage Times displays that acted as hybrids between the nineteenthcentury informational advertisement and the targeted, sloganbased, and dazzlingly visual advertisements that exploded for cinema and dance hall during the 1920s. Although the 133 Coliseum began to brand leisure like a consumer commodity, these types of variety theatre promotions were few and far between, and they were invariably taken out as onetime, standalone endorsements. Furthermore, this technique was not even used for the first cinema and dance advertisement in The Times, which began to appear during 1910s. The Times 1910s dance advertising section closely mimicked the “Entertainments” column in the nineteenthcentury Derby; it was headed “Dancing” and listed venues and, as a new concept, telephone contact information. Similarly, the first cinema advertisement The Times ran in 1915 was as 134 sloganfree and informational as any nineteenthcentury theater notice, but featured slightly larger text that highlighted the cinema's name and the film titles. Although there was some 135 precedent of leisure enterprises using conspicuous advertisements in the early twentieth century, leisure marketing had not yet incorporated the modern publicity techniques used by consumergood companies. Commercial advertising for commodities in British newsprint, by contrast, was certainly well established by the turn of the twentieth century. By the end of the nineteenth century, cigarettes, food products, alcohol, medicine, and home furnishings were all frequently being 133 See Appendix A. 134 See Appendix A. 135 See Appendix A. 50 advertised with attractive slogans and images. It was only tangible material goods, ones which 136 consumers could take home, that were marketed in this way. The early marketing techniques used by consumer product companies set a precedent for 1920s amusements to commodify experience in the same fashion as consumer goods. By copying the techniques already established by consumer product corporations, cinema and palais de danse were able to successfully market amusement in a way that both made leisure appealing to audiences and attempted to counter negative critiques of “hedonistic” leisure. Following in the advertising footsteps used by consumergood companies, leisure advertisers began to transform the nineteenthcentury notice system into comprehensive and modern marketing projects. By the 1920s, leisure was marketed in many major and traditional British newspapers, but cheap amusements’ first incarnations of consumer advertising appeared in new popular press outlets, such as the Daily Mail. By 1911, the Daily Mail was running an 137 advertising section called, “The Season's Greatest Attractions.” This segment not only 138 included sporting events and exhibitions, but also featured many variety theater advertisements of the type the Times ran for the London Coliseum. In contrast to traditional news where display advertising for nonconsumer products did not appear until the 1920s, the first visual cinema advertisements in Daily Mail appeared during the 1910s, and included slogans like, “The finest entertainment in London.” In this way, the popular press was instrumental in the birth of 139 advertising for nonconsumer goods. The idea that an experience could be sold as a commodity, 136 Sue Bowden, “The New Consumerism,” in Paul Johnson, ed. TwentiethCentury Britain: Economic, Social and Cultural Change (London: Longman, 1994), 244. See Appendix A. 137 Adrian Bingham, Gender, Modernity, and the Popular Press in InterWar Britain (Oxford: Clarendon Press, 2004), 22. 138 Anonymous, “Daily Mail Travel & Information Bureau,” Daily Mail 12 June 1911: 3. See Appendix A. 139 Anonymous, “Multiple Display Advertising Items,” Daily Mail 9 May 1914: 1B. See Appendix A. 53 restaurant, then a cosy seat in a sumptuous auditorium, to enjoy a fine film & variety programme.” Like dance hall slogans, these reassuring words underlined the reasons why 143 patrons should visit the cinema. The idea that the “most fashionable cinema” was appealing again played into the notion that in order to keep up with the times, one had to go to the pictures. Stoll Picture Theatre’s insistence that it was the “finest” cinema lured potential audience members to the attraction. The description of the theater’s large space and its appealing amenities also show how the modern cinema was an enjoyable place to be. Both cinema and dance hall advertisements also began to include visual elements during the 1920s. For dance halls, this often meant advertisements depicting happy, young, dressedup dancing couples, like in the Hammersmith Palais advertisement pictured at the top of this chapter. Typically, cinema advertisements would picture the theater and its amenities, or they 144 might feature an image relating to the film showing that week. For example, a 1929 Stoll Picture Theatre advertisement showed the lead actors of that Sunday’s film, Weary River, embracing. 145 Including images in advertising, known as display advertising, was a technique borrowed by leisure from goods advertisements that allowed cinemas and palais de danse to sell an experience to potential consumers. Perhaps the most notable selling point used in cheap amusements’ advertisements, however, was the ability of leisure enterprises to market luxury at an affordable price. As described in Chapter II, one of the noted hallmarks of 1920s leisure was its ability to provide the same quality amusement to patrons of all socioeconomic classes. The democratizing quality of popular leisure was used by cinema and palais advertisers as another agent of appeal. 143 Anonymous, “Stoll Picture Theatre,” Times 19 March 1929: 3. 144 Anonymous, “Palais De Danse Hammersmith,” Sunday Times 7 Dec 1919: 7. 145 Anonymous, “Stoll Picture Theatre,” Sunday Times 26 May 1929: 14. See Appendix A. 54 Advertisements for Hammersmith Palais stressed dancing’s affordability: “The 'Palais' has succeeded because it gives value, as characterised by quality, dependability and economy – that's why it has a definite following. It's a Bond Street Service with a Cheapside charge for admission.” This 1921 Daily Mail advertisement illustrates the aim of cheap amusements to 146 bring a hitherto inaccessible luxury to wageearning classes. Advertisers for Hammersmith clearly saw the critical ability to provide “bond street service” at a price that anyone could afford as an appealing and marketable quality. Similarly, when Gaity Theatre in Manchester advertised its transformation into a cinema in 1921, it extolled the economy cinemas provided in the Manchester Guardian, declaring that: “the main source of the success will be found in its cheapness – in its low prices of admission … the picturehouse is from 30 to 100 per cent lower in price than the variety theatre.” This advertisement clearly demonstrates the fact that the 147 ability to provide leisure inexpensively to many people was a notable change from the old variety theaters. In this way, by demonstrating the inexpensive novelty cheap amusements provided, leisure establishments were able to market their experience in a way that was appealing to its potential new audience members. “Let Dancing Be Your Doctor”: Responding to Criticism for New Amusements In addition to needing to sell an unprecedented activity in a style that had only previously been used by consumer good products, cheap amusements also used advertisements as a way to deflect negative criticisms about pleasureseeking culture. One of the most powerful examples of this type of advertising was Hammersmith’s 19191921 attempt to market the palais as healthy 146 Anonymous, “Multiple Display Advertising Items,” Daily Mail 12 Oct. 1921: n.p. 147 Anonymous, “Display Ad 6 No Title,” The Manchester Guardian, 13 Jul 1921: 3. 55 for the nation through the “let dancing be your doctor,” campaign. This attempt to cast the 148 palais as a space that made its patrons healthy was very clearly meant to combat claims that cheap amusements were leading to the mental and physical denigration of Britain’s youth. Hammersmith asserted that dancing was a healthy pastime for both mental and physical wellbeing. Hammersmith focused on dancing as exercise, telling prospective patrons to “come and take an active part in a healthy pastime.” The famous palais marketed itself as a medical 149 response to health problems, claiming to be the be “The Nation’s Tonic,” a description that clearly attempted to show that dancing cures individuals of their ailments in a way that helps Britain as a whole. Hammersmith assured that “it’s a medicine you will thoroughly enjoy,” 150 again reflecting an attempt to make cheap amusement a cure. What is more, as discussed in Chapter III, critics were specifically worried about young people’s health. Hammersmith responded directly to this fear, describing dancing as “an elixir of youth.” By medicalizing the 151 palais and essentially turning it into a cure for health problems, Hammersmith could address (if not dispel) fears about cheap amusements in a way that played up dancing’s positive health benefits. Not only did this Hammersmith campaign highlight the positive, medicinal, and physical benefits of dancing as a leisure activity, the palais also claimed that it had a positive effect on patrons’ mental health. Advertisements encouraged, “be happy and jubilant,” commenting on 152 dancing’s ability to help relieve mental stress and allow dancers to be carefree. Hammersmith 148 Anonymous, “Palais de Danse,” Sunday Times 10 April 1921: 4. See Appendix A. The title of this subchapter is taken from this advertisement. 149 Anonymous, “Palais de Danse,” Sunday Times, 6 Mar. 1921: 6. See Appendix A. 150 Anonymous, “Dancing,” Sunday Times, 5 June 1921: 6. See Appendix A. 151 Anonymous, “Dancing,” Sunday Times, 5 June 1921: 6. See Appendix A. 152 Anonymous, “Palais de Danse,” Sunday Times, 13 March 1921: 4. See Appendix A. 58 development of new industries, and the home production of films possesses real potentialities. 159 This Stoll advertisement addresses many of the negative claims detailed in Chapter III. Here, Stoll Productions markets itself by countering the foreign control over the film industry. What is more, this advertisement fights the fear that amusements were dangerous to the working class or dole recipients by stressing the fact that the British cinema industry created jobs. By using advertising as a tool to counter disapproval of cheap amusements, British leisure enterprises were able to frame themselves in a positive light. 159 Anonymous, “Multiple Display Advertising Items,” Daily Mail 18 March 1922: 1. 59 Conclusion The 1920s leisure “mania” sparked an era defined by pleasureseeking and amusements. As important players in a modern, fashionable world, cinemas and dance halls redefined a generation of young Britons who came of age watching films and attending dances. Furthermore, these popular culture amusements were enjoyed by all strata of society. Although the primary audience for new, cheap amusements were young, working women, film and popular dance steps reached such a ubiquitous level of cultural relevance that even those who did not directly participate were exposed to these new leisure forms. As the “craze” for cheap amusements reached a peak, so too did disdain for hedonistic obsession with enjoyment and lightheartedness. Often aimed at youth, critics of 1920s leisure culture argued that constant visits to cinemas and palais de danse occupied too much of pleasureseekers’ time, and caused the breakdown of the nineteenthcentury work ethic. Critics also lamented foreign, particularly American, influence on popular culture in Britain. As this thesis has shown, one way in which cinemas and palais responded to the aspersions cast against them was through display advertising, which afforded publicity teams the power to turn negative arguments into attractive selling points. In doing so, cinemas and palais commodified their leisure and thereby furthered the development of amusements as mass entertainment. By the early 1930s, leisure’s place in the concept of a modern, fashionable England was well established, and the commercial implications of popular culture became more pronounced. The late 1920s saw the rise of conglomerative leisure corporations. National cinema chains like 60 Odeon Theatres and Gaumont British replaced local picture houses. During the first few years 160 of the 1930s, the mass conglomerate Mecca Dancing, a subsidiary of a larger, parent company Mecca Cafés, was buying out many popular palais de danse across the country. The 161 establishment of national leisure chains reveals the extent to which mass entertainment had grown over the course of the lighthearted 1920s. Cheap amusements, which diffused popular culture throughout the country during the 1920s, acted as a societal leveling force universally identifiable to the British masses. As discussed in this thesis, in Britain this universalizing factor during the 1920s in particular allowed young people to interact with and share interests with members of different social classes; this immediate effect carried the larger potential to foster greater understanding between the classes, challenging the entrenched cultural distinctions between the high, affluent, or intellectual milieu and the popular or massproduced. Although mass entertainment held the 162 power to erase differences between peoples, its international implications throughout the twentieth century were not always so equilibrating. By the Second World War, leisure’s position as an “opiate” that could control the masses was recognized. The Third Reich used mass entertainment for public “enlightenment” and propaganda. Clearly, the lighthearted and 163 funloving ethos that the emergence of 1920s leisure culture fostered did not apply to all incarnations of mass culture in Europe during the twentieth century. The 1920s British leisure “craze,” however, did create the origins for twentieth century popular culture. Cinema and palais de danse, insofar as they were hubs of youth activity, acted 160 Davies, “Cinema and Broadcasting,” 269. 161 Abra, “On With the Dance,” 148. 162 Victoria de Grazia, Irresistible Empire: America’s Advance Through TwentiethCentury Europe (Cambridge: Harvard University Press, 2005), 288. 163 De Grazia, Irresistible Empire, 320. 63 Anonymous, “Notices,” The Times, 1 Jan. 1900, 8. 132. Nineteenthcentury “Entertainments,” section, The Derby Daily Telegraph Anonymous, “Advertisement and Notices,” The Derby Daily Telegraph, 12 Jul. 1887, 1. 133. Example of an early twentiethcentury Coliseum advertisement in The Times 64 Anonymous, “The Coliseum,” The Times, 19 May 1905, 4. 134. The Times “Dancing” announcement Anonymous, “Cautions and Notices,” The Times, 15 Jan. 1910, 1. 135. First cinema display advertisement in The Times Anonymous, “Display Advertising,” The Times, 8 April 1915, 10. 65
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68 143. Stoll Picture Theatre Advertisement Anonymous, “Stoll Picture Theatre,” The Times, 19 March 1929, iii. 145. Stoll Picture Theatre Display Advertising Anonymous, “Stoll Picture Theatre,” Sunday Times 26 May 1929: 14. 69 148, 150, 151. An example of Hammersmith’s “Let Dancing be your Doctor” campaign Anonymous, “Dancing,” The Sunday Times, 5 June 1921, 6. 149. An example of Hammersmith’s “Let Dancing be your Doctor” campaign Anonymous, “Palais de Danse,” Sunday Times, 6 Mar. 1921: 6. 70 153. An example of Hammersmith’s “Let Dancing be your Doctor” campaign Anonymous, “Palais de Danse,” Sunday Times, 10 April 1921: 4. 73 Anonymous. “Modern Dances At State Balls.” Times [London, England] 16 July 1921: 12. The Times Digital Archive, 17852008. Web. 16 Nov. 2014. Anonymous. “Multiple Display Advertising Items.” Daily Mail [London, England] 9 May 1914: 1B. Daily Mail Historical Archive. Web. 21 Nov. 2014. 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