Well illustrated book on history of silent movies

HE IS A MAN POSSESSED—BY A WOMAN WHOSE BEAUTY DRIVES MEN TO MADNESS. If there was ever a devil who could lure and seduce the innocent, Lord Sloan Treveryan is that man. Captain of the Sea Hawk and bound to the king’s business, Treveryan may be a lord but he is no gentleman. Yet even he cannot ignore a lady in distress—or the temptation she provides. Bewitched by Brianna MacCardle’s beauty, Scottish inquisitors have called her the devil’s own. Though Treveryan saves her from the witch-hunter’s clutches, how can she be grateful? He has carried Brianna off to America, claimed her, and taken her innocence. She vows that he will never capture her heart. But against her will she begins to fall in love—while swearing to reap revenge against the arrogant lord who has made her the devil’s mistress.

Throughout nineteenth century America, religious officials often condemned the theatre as an inversion of the house of God, similar to the church in architectural structure and organization but wholly different in purpose and values. This book explores the many ways in which religious institutions supported by capitalism profoundly affected the early development of American theatre. The author analyzes the church's critical view toward common theatre practices, including the use of female and child performers, and the lower class alliance with the stage. Three appendices provide period correspondence, including an excerpt from Mark Twain's February 1871 "Memoranda," in which Twain criticizes an Episcopalian reverend for denying church burial to a popular stage comedian.