In the early years of the twentieth century, the unique new medium of motion pictures was the focus of significant theorization and experimentation at the fringes of the American advertising industry. Alongside the growth of the nickelodeon, and the multiple shifts in the American cinema's business model in the 'transitional era,' various individuals at the margins of the advertising industry attempted, and most often failed, to integrate direct consumer-goods advertising regularly into motion picture theaters. Via techniques as diverse as the glass slide, the commercial trailer, and the advertising wall-clock, cinema patrons of the 1910s witnessed various attempts by merchants and manufacturers to intrude upon their attention in the cinema space. Through research in the trade presses of the cinema, advertising, and various consumer-goods industries, along with archival ephemera from the advertising companies themselves, this dissertation explores these various on and off-screen tactics for direct advertising attempted in silent cinemas, and their eventual minimization in the American cinema experience. Despite the appeal of the new, popular visual medium of cinema to advertisers, concerns over ticket prices, advertising circulation, audience irritation, and the potential for theatrical 'suicide-by-advertising,' resulted, over a mere fifteen years, in the near abandonment of the cinema as an advertising medium. As a transitional medium between the 19th century forms of print and billboarding, and 20th century broadcasting, the silent cinema was an important element in the development of modern advertising theories.

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Poetry in music is the main discussion in this essay. There are three ways to connect music and poem. First, represent the emotion of poems through music; second, parallel the syllables and linguistic intonation to rhythm and pitches; third, transform the methods of writing poems into the methods of composing music. ¡§Remember¡¨ and ¡§The Magic Carousal¡¨ are used as examples in this essay. In ¡§Remember,¡¨ the composer semantically transfers the poetry into his/her music by directly borrowing and engaging the linguistic syntax and formal construction into musical composition. Such method is based on the eight different techniques mentioned in ¡§Looming Imagery,¡¨ a chapter from Yong Wu Huang¡¦s Design of Chinese Poetry, as a means to create musical structures. ¡§The Magic Carousal¡¨ adopts the application of musical tone-painting. A composer creates a tone-poem that expresses the poetic imagery and atmosphere. Based on the concept of musical rhetoric, the words are assigned with particular musical contour or gesture that illustrates the poem even more comprehensively.

Thesis (M. Des.)--York University, 2007. Graduate Programme in Higher Education. / Typescript. Includes bibliographical references (leaves 36-38). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004 & res_dat=xri:pqdiss & rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation & rft_dat=xri:pqdiss:MR32035.

Dissertation (Ph.D.)--The University of North Carolina at Greensboro, 2008. / Directed by Scott Romine; submitted to the Dept. of English. Title from PDF t.p. (viewed Jan. 28, 2010). Includes bibliographical references (p. 240-254).

Thesis (M.A.)--Florida State University, 2003. / Advisor: Dr. David Johnson, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Apr. 12, 2004). Includes bibliographical references.

Thesis (M.A.)--West Virginia University, 2001. / Title from document title page. Document formatted into pages; contains v, 65 p. Includes abstract. Includes bibliographical references (p. 63-65).

Thesis (M.A.(Drama))--University of Pretoria, 2008. / Includes bibliographical references.

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