Michael North
- Published in print:
- 2005
- Published Online:
- September 2007
- ISBN:
- 9780195173567
- eISBN:
- 9780199787906
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195173567.003.0004
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter discusses the opposition among modernist writers to the addition of sound to film, using as particular example the early film journal, Close Up, edited in part by the poet HD. It shows ...
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This chapter discusses the opposition among modernist writers to the addition of sound to film, using as particular example the early film journal, Close Up, edited in part by the poet HD. It shows how the cosmopolitanism possible for silent film fostered the notion that film imagery constituted a universal language. Within this utopian hope there was a complex resistance to the foreign and even the international itself that appears particularly in portrayals of race.Less
This chapter discusses the opposition among modernist writers to the addition of sound to film, using as particular example the early film journal, Close Up, edited in part by the poet HD. It shows how the cosmopolitanism possible for silent film fostered the notion that film imagery constituted a universal language. Within this utopian hope there was a complex resistance to the foreign and even the international itself that appears particularly in portrayals of race.
Mary Simonson
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780195365870
- eISBN:
- 9780199932054
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195365870.003.0005
- Subject:
- Music, Opera, History, Western
This chapter explores the most modern medial intervention available to the prima donnas in this book: early film. It seems astonishing to learn that early twentieth-century opera singers such as Mary ...
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This chapter explores the most modern medial intervention available to the prima donnas in this book: early film. It seems astonishing to learn that early twentieth-century opera singers such as Mary Garden and Geraldine Farrar involved themselves in the silent film industry of the 1910s. What was an opera singer doing devoting time and energy to a performance format that by definition ignored her principal attribute? Simonson critiques Garden’s and Farrar’s portrayals on the silver screen of a variety of roles from Joan of Arc to Carmen, and observes a foregrounding of their bodies and exulting in physicality. Not just their screen exploits, but risks they endured while filming were written up eagerly by the press, suggesting that the prima donna became an important iconic figure in the emergence of, and discourse around, new female identities at the beginning of the new century.Less
This chapter explores the most modern medial intervention available to the prima donnas in this book: early film. It seems astonishing to learn that early twentieth-century opera singers such as Mary Garden and Geraldine Farrar involved themselves in the silent film industry of the 1910s. What was an opera singer doing devoting time and energy to a performance format that by definition ignored her principal attribute? Simonson critiques Garden’s and Farrar’s portrayals on the silver screen of a variety of roles from Joan of Arc to Carmen, and observes a foregrounding of their bodies and exulting in physicality. Not just their screen exploits, but risks they endured while filming were written up eagerly by the press, suggesting that the prima donna became an important iconic figure in the emergence of, and discourse around, new female identities at the beginning of the new century.
Anthony Harkins
- Published in print:
- 2005
- Published Online:
- September 2007
- ISBN:
- 9780195189506
- eISBN:
- 9780199788835
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195189506.003.0003
- Subject:
- History, Cultural History
This chapter follows the evolution of the word and the image of “hillbilly” from its first appearance in print in 1900 to the end of World War One. Starting as a regional label with a specific ...
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This chapter follows the evolution of the word and the image of “hillbilly” from its first appearance in print in 1900 to the end of World War One. Starting as a regional label with a specific localized significance, the term and persona were soon spread by jokebook writers, professional linguists and, above all, the new mass medium of motion pictures. In hundreds of action shorts, directors such as D. W. Griffith (himself a Kentuckian) depicted a violent and lawless people whose feuds and drunkenness posed a serious threat to the “proper” late-Victorian social order. By the mid 1910s, however, silent films and other popular culture media began to present a parallel but distinct interpretation of the mountaineer as a comical foil for bumbling urban naifs. Despite its evolving meaning, “hillbilly” remained a relatively uncommon and thoroughly ambiguous label throughout this era.Less
This chapter follows the evolution of the word and the image of “hillbilly” from its first appearance in print in 1900 to the end of World War One. Starting as a regional label with a specific localized significance, the term and persona were soon spread by jokebook writers, professional linguists and, above all, the new mass medium of motion pictures. In hundreds of action shorts, directors such as D. W. Griffith (himself a Kentuckian) depicted a violent and lawless people whose feuds and drunkenness posed a serious threat to the “proper” late-Victorian social order. By the mid 1910s, however, silent films and other popular culture media began to present a parallel but distinct interpretation of the mountaineer as a comical foil for bumbling urban naifs. Despite its evolving meaning, “hillbilly” remained a relatively uncommon and thoroughly ambiguous label throughout this era.
Judith Buchanan
- Published in print:
- 2011
- Published Online:
- March 2012
- ISBN:
- 9780748635238
- eISBN:
- 9780748652297
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748635238.003.0026
- Subject:
- Literature, Shakespeare Studies
This chapter asks for a reappraisal of Shakespeare in his silent film appearances. Beginning with King John, it reports that the films of the period are distinctive for encouraging moments of ...
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This chapter asks for a reappraisal of Shakespeare in his silent film appearances. Beginning with King John, it reports that the films of the period are distinctive for encouraging moments of communion and stimulating imaginative effort. It is suggested that a landmark juncture was the point at which practitioners abandoned the stage to embrace new-found confidence in the cinematic medium. Herbert Beerbohm Tree's own reflections on the production process suggest he was genuinely entranced with the American film industry. The approach of the King John film was in tune with the industry's filmmaking impulses in relation to adaptation more generally in the pioneering years. Shakespeare films had not previously tended to attract artistic plaudits specifically from cineastes. 1916/17 was a significant coming-of-age moment for silent Shakespearean cinema. For some Shakespearen, silent cinema showcased actors engaged in frantic and undignified gesturing and then had the gall to call that ‘Shakespeare’.Less
This chapter asks for a reappraisal of Shakespeare in his silent film appearances. Beginning with King John, it reports that the films of the period are distinctive for encouraging moments of communion and stimulating imaginative effort. It is suggested that a landmark juncture was the point at which practitioners abandoned the stage to embrace new-found confidence in the cinematic medium. Herbert Beerbohm Tree's own reflections on the production process suggest he was genuinely entranced with the American film industry. The approach of the King John film was in tune with the industry's filmmaking impulses in relation to adaptation more generally in the pioneering years. Shakespeare films had not previously tended to attract artistic plaudits specifically from cineastes. 1916/17 was a significant coming-of-age moment for silent Shakespearean cinema. For some Shakespearen, silent cinema showcased actors engaged in frantic and undignified gesturing and then had the gall to call that ‘Shakespeare’.
Thomas C. Christensen
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780197266434
- eISBN:
- 9780191884191
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266434.003.0006
- Subject:
- Film, Television and Radio, Film
When restoring a film, the aim is naturally always to provide the definitive version. However, many factors make this an impossible mission. This chapter draws on actual film archival practice and ...
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When restoring a film, the aim is naturally always to provide the definitive version. However, many factors make this an impossible mission. This chapter draws on actual film archival practice and theory, exposing a minefield of obstacles facing any academic study trying to examine film history based on restored works. The focus is on silent cinema restoration, intertitles, and translation issues. Using Mark-Paul Meyer and Paul Read’s categories—from a one-to-one duplication to the creation of an altogether new work—the aim is to give an insight into the complexity of silent film restoration and the practical, and sometimes very unacademic, nature of the actual restoration work. The fact that most film restorations typically concentrate on image quality rather than titles, which are often merely supposed to support the visual action, adds to the complexity of transparency about the provenance of the filmic titles as an object of study.Less
When restoring a film, the aim is naturally always to provide the definitive version. However, many factors make this an impossible mission. This chapter draws on actual film archival practice and theory, exposing a minefield of obstacles facing any academic study trying to examine film history based on restored works. The focus is on silent cinema restoration, intertitles, and translation issues. Using Mark-Paul Meyer and Paul Read’s categories—from a one-to-one duplication to the creation of an altogether new work—the aim is to give an insight into the complexity of silent film restoration and the practical, and sometimes very unacademic, nature of the actual restoration work. The fact that most film restorations typically concentrate on image quality rather than titles, which are often merely supposed to support the visual action, adds to the complexity of transparency about the provenance of the filmic titles as an object of study.
Claire Dupré La Tour
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780197266434
- eISBN:
- 9780191884191
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266434.003.0003
- Subject:
- Film, Television and Radio, Film
The shift from titles on lantern slides to the practice of titling on the film itself dates to the turn of the 20th century. Early examples of preserved filmed titles are rare, but occasional ...
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The shift from titles on lantern slides to the practice of titling on the film itself dates to the turn of the 20th century. Early examples of preserved filmed titles are rare, but occasional advertisements can be found in the UK in catalogues of James Williamson (1899) and Robert William Paul (1901), and in France in a catalogue of the Parnaland film company (1901). Although evidence shows that Pathé was using this technique in 1901, catalogues from its British branch reveal that it advertised it from May 1903. The advertisements highlighted positive outcomes for producers and exhibitors, and promoted titles in a variety of languages. This early titling strategy allowed Pathé to get ahead of its competitors in terms of industrialisation, control over its product, and domestic and foreign market share. This chapter focuses on early filmed titling and intertitling practices, Pathé’s innovative offer in 1903, and its evolution until 1908.Less
The shift from titles on lantern slides to the practice of titling on the film itself dates to the turn of the 20th century. Early examples of preserved filmed titles are rare, but occasional advertisements can be found in the UK in catalogues of James Williamson (1899) and Robert William Paul (1901), and in France in a catalogue of the Parnaland film company (1901). Although evidence shows that Pathé was using this technique in 1901, catalogues from its British branch reveal that it advertised it from May 1903. The advertisements highlighted positive outcomes for producers and exhibitors, and promoted titles in a variety of languages. This early titling strategy allowed Pathé to get ahead of its competitors in terms of industrialisation, control over its product, and domestic and foreign market share. This chapter focuses on early filmed titling and intertitling practices, Pathé’s innovative offer in 1903, and its evolution until 1908.
Charles Barr
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780197266434
- eISBN:
- 9780191884191
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266434.003.0005
- Subject:
- Film, Television and Radio, Film
Silent films were commonly adapted for foreign markets not simply by translation of intertitles but, when desired, by more radical change, both to the titles and to the whole structure and thrust of ...
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Silent films were commonly adapted for foreign markets not simply by translation of intertitles but, when desired, by more radical change, both to the titles and to the whole structure and thrust of the narrative. The young Soviet Union systematically transformed films from the West in order to make them ideologically acceptable for its own public, as well as to train filmmakers in the craft of editing. The discovery in Moscow of the re-edited version of the 1922 Anglo-American production Three Live Ghosts—on which Alfred Hitchcock worked as title designer—enables an unprecedentedly full case study of this transformation process. Characters and their Great War context are ruthlessly reworked, in the service of a fresh anti-capitalist story. Finally, the same process is traced in reverse, in the sound period, through Hollywood’s own re-editing, for Cold War audiences, of its pro-Soviet wartime feature North Star into an anti-Soviet narrative.Less
Silent films were commonly adapted for foreign markets not simply by translation of intertitles but, when desired, by more radical change, both to the titles and to the whole structure and thrust of the narrative. The young Soviet Union systematically transformed films from the West in order to make them ideologically acceptable for its own public, as well as to train filmmakers in the craft of editing. The discovery in Moscow of the re-edited version of the 1922 Anglo-American production Three Live Ghosts—on which Alfred Hitchcock worked as title designer—enables an unprecedentedly full case study of this transformation process. Characters and their Great War context are ruthlessly reworked, in the service of a fresh anti-capitalist story. Finally, the same process is traced in reverse, in the sound period, through Hollywood’s own re-editing, for Cold War audiences, of its pro-Soviet wartime feature North Star into an anti-Soviet narrative.
Bryony Dixon
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780197266434
- eISBN:
- 9780191884191
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266434.003.0002
- Subject:
- Film, Television and Radio, Film
Between the last years of the 1890s and roughly 1929 when full talkies arrived, films were generally a combination of picture and title cards, or intertitles, which began to be used in the early ...
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Between the last years of the 1890s and roughly 1929 when full talkies arrived, films were generally a combination of picture and title cards, or intertitles, which began to be used in the early 1900s. As the film trade was international in nature from its earliest days, intertitles needed to be translated. This chapter offers a brief chronology of the intertitle in film, highlighting the difficulties of translating and adapting title cards with decorative backgrounds and sophisticated animated sequences, either at the time the films were made or today for restoration. It also provides three case studies based on restoration projects conducted at the British Film Institute, showing how language and translation issues play their part in the complex reconstruction process.Less
Between the last years of the 1890s and roughly 1929 when full talkies arrived, films were generally a combination of picture and title cards, or intertitles, which began to be used in the early 1900s. As the film trade was international in nature from its earliest days, intertitles needed to be translated. This chapter offers a brief chronology of the intertitle in film, highlighting the difficulties of translating and adapting title cards with decorative backgrounds and sophisticated animated sequences, either at the time the films were made or today for restoration. It also provides three case studies based on restoration projects conducted at the British Film Institute, showing how language and translation issues play their part in the complex reconstruction process.
Ross Melnick
- Published in print:
- 2014
- Published Online:
- November 2015
- ISBN:
- 9780231159050
- eISBN:
- 9780231504256
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231159050.003.0001
- Subject:
- Film, Television and Radio, Film
This book analyzes the career of film exhibitor and radio broadcaster, Samuel Lionel “Roxy” Rothafel (1882–1936), between the years 1908 and 1935. It shows how Roxy did not merely project motion ...
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This book analyzes the career of film exhibitor and radio broadcaster, Samuel Lionel “Roxy” Rothafel (1882–1936), between the years 1908 and 1935. It shows how Roxy did not merely project motion pictures to audiences but presented unitary texts that extended well beyond film exhibition and formed the theoretical basis of his work in broadcasting. This intervention in the nascent field of radio and its programmatic forms led to his development of the variety show format, which he pioneered and promoted over the air. The book also examines Roxy' unique role during World War I as both an exhibitor and a producer of pro-war films and stage shows; his position as one of America's most popular and influential interwar broadcasters; his national stardom and its implications for Jewish visibility and assimilation; and his work in converging film, broadcasting, and music publishing and recording.Less
This book analyzes the career of film exhibitor and radio broadcaster, Samuel Lionel “Roxy” Rothafel (1882–1936), between the years 1908 and 1935. It shows how Roxy did not merely project motion pictures to audiences but presented unitary texts that extended well beyond film exhibition and formed the theoretical basis of his work in broadcasting. This intervention in the nascent field of radio and its programmatic forms led to his development of the variety show format, which he pioneered and promoted over the air. The book also examines Roxy' unique role during World War I as both an exhibitor and a producer of pro-war films and stage shows; his position as one of America's most popular and influential interwar broadcasters; his national stardom and its implications for Jewish visibility and assimilation; and his work in converging film, broadcasting, and music publishing and recording.
K. J. Donnelly
- Published in print:
- 2014
- Published Online:
- April 2014
- ISBN:
- 9780199773497
- eISBN:
- 9780199358816
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199773497.003.0007
- Subject:
- Music, Popular, History, Western
Most film sound is post-synchronized in one way or another, joined together in a studio rather than shot and recorded as a single event. On occasion, films can shoot to music that defines the staging ...
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Most film sound is post-synchronized in one way or another, joined together in a studio rather than shot and recorded as a single event. On occasion, films can shoot to music that defines the staging and assemblage of a sequence (as in film musicals), and sometimes film can be cut to music added in post-production. This chapter considers pre- and post-production sound, addressing the various conventional forms and degrees of synchronization in circulation. This includes lip-synching (where screen actions are matched to preexisting sound and music) and dubbed dialogue (replacing an original voice with another). While preexisting sound matched by images tends to be highly integrated, as sound dominates and image movements are motivated by sonic activity, this chapter argues that it can contain a grain of the uncanny as a space exhibiting the persistence of silent film techniques within sound film.Less
Most film sound is post-synchronized in one way or another, joined together in a studio rather than shot and recorded as a single event. On occasion, films can shoot to music that defines the staging and assemblage of a sequence (as in film musicals), and sometimes film can be cut to music added in post-production. This chapter considers pre- and post-production sound, addressing the various conventional forms and degrees of synchronization in circulation. This includes lip-synching (where screen actions are matched to preexisting sound and music) and dubbed dialogue (replacing an original voice with another). While preexisting sound matched by images tends to be highly integrated, as sound dominates and image movements are motivated by sonic activity, this chapter argues that it can contain a grain of the uncanny as a space exhibiting the persistence of silent film techniques within sound film.
Sarah Wright
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780719097720
- eISBN:
- 9781526121172
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719097720.003.0003
- Subject:
- Film, Television and Radio, Film
Through a close analysis of the 1930 version of La aldea maldita, this chapter reflects on the influences ushered in by Spain’s embrace of modernity. Touted as ‘Spain’s last silent film’ as well as ...
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Through a close analysis of the 1930 version of La aldea maldita, this chapter reflects on the influences ushered in by Spain’s embrace of modernity. Touted as ‘Spain’s last silent film’ as well as its most important one, La aldea maldita presents a harsh, minimalist beauty that has long been praised by audiences and critics. The chapter shows that the acting style is influenced not just by trends of the time but also by the film’s relationship to sound: after the disastrous experience with the sonorisation of a previous film, Rey decided to film La aldea maldita as if it were silent, when in fact the first showing of the film included sound. It also addresses the performance in the version of this film, questioning the sense of anachronism that now pervades them and reflecting on attitudes to aesthetics, acting and the cinematic medium itself.Less
Through a close analysis of the 1930 version of La aldea maldita, this chapter reflects on the influences ushered in by Spain’s embrace of modernity. Touted as ‘Spain’s last silent film’ as well as its most important one, La aldea maldita presents a harsh, minimalist beauty that has long been praised by audiences and critics. The chapter shows that the acting style is influenced not just by trends of the time but also by the film’s relationship to sound: after the disastrous experience with the sonorisation of a previous film, Rey decided to film La aldea maldita as if it were silent, when in fact the first showing of the film included sound. It also addresses the performance in the version of this film, questioning the sense of anachronism that now pervades them and reflecting on attitudes to aesthetics, acting and the cinematic medium itself.
John Orr
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780748640140
- eISBN:
- 9780748671090
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748640140.003.0002
- Subject:
- Film, Television and Radio, Film
In Britain, the silent cinema perishes in its moment of triumph. The five landmark films of the silent era came at the instant of transition to sound in 1929. They are John Grierson's Drifters, ...
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In Britain, the silent cinema perishes in its moment of triumph. The five landmark films of the silent era came at the instant of transition to sound in 1929. They are John Grierson's Drifters, Anthony Asquith's A Cottage on Dartmoor, E. A. Dupont's Piccadilly and Alfred Hitchcock's The Manxman and his famous transition to sound, Blackmail, which exists in both silent and talkie versions. If we call these films ‘avant-garde’ because they are path-breaking, which they were, they are not part of a clearly unified British avant-garde movement. They are more accurately modernistic, experimenting with the possibilities of silent film narrative in an epoch of artistic modernism. These five silent films contain the seeds of the sensibility that dominates an earlier phase of UK cinema — romanticism. They are, we might argue, romantic and modern at the same time. If we add a sixth title, it would have to be Hitchcock's Number Seventeen, made in 1931 but released the following year.Less
In Britain, the silent cinema perishes in its moment of triumph. The five landmark films of the silent era came at the instant of transition to sound in 1929. They are John Grierson's Drifters, Anthony Asquith's A Cottage on Dartmoor, E. A. Dupont's Piccadilly and Alfred Hitchcock's The Manxman and his famous transition to sound, Blackmail, which exists in both silent and talkie versions. If we call these films ‘avant-garde’ because they are path-breaking, which they were, they are not part of a clearly unified British avant-garde movement. They are more accurately modernistic, experimenting with the possibilities of silent film narrative in an epoch of artistic modernism. These five silent films contain the seeds of the sensibility that dominates an earlier phase of UK cinema — romanticism. They are, we might argue, romantic and modern at the same time. If we add a sixth title, it would have to be Hitchcock's Number Seventeen, made in 1931 but released the following year.
Gabriella Oldham and Mabel Langdon
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780813169651
- eISBN:
- 9780813169996
- Item type:
- book
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813169651.001.0001
- Subject:
- Film, Television and Radio, Film
Harry Langdon (1884–1944) was a silent comedian in the early days of the American film industry. Although he is often compared with other silent comedians of the era, including Charlie Chaplin, ...
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Harry Langdon (1884–1944) was a silent comedian in the early days of the American film industry. Although he is often compared with other silent comedians of the era, including Charlie Chaplin, Buster Keaton, and Harold Lloyd, Langdon’s career is underappreciated. Following a series of disastrous professional and personal missteps, Langdon faced demotion from his place as a king of silent comedy. The advent of talkies did not bode well for him, as his greatest strengths were rendered irrelevant. He was largely forgotten until audiences in the 1970s became reacquainted with his work nearly three decades after his death. In Harry Langdon: King of Silent Comedy, author Gabriella Oldham claims that Langdon’s catalog of work merits an equal rank alongside his great contemporaries. This biography seeks not only to redeem Langdon’s position in the pantheon of silent comedians but also to accurately portray his life story. The narrative of Langdon’s life explores his early work on the stage at the turn of the twentieth century, his iconic routines and persona in silent films, and his checkered career in the early sound period. This invaluable biography of Langdon relies on film screenings, files, and interviews with those who were closest to him to capture his true genius during the time when comedy was king.Less
Harry Langdon (1884–1944) was a silent comedian in the early days of the American film industry. Although he is often compared with other silent comedians of the era, including Charlie Chaplin, Buster Keaton, and Harold Lloyd, Langdon’s career is underappreciated. Following a series of disastrous professional and personal missteps, Langdon faced demotion from his place as a king of silent comedy. The advent of talkies did not bode well for him, as his greatest strengths were rendered irrelevant. He was largely forgotten until audiences in the 1970s became reacquainted with his work nearly three decades after his death. In Harry Langdon: King of Silent Comedy, author Gabriella Oldham claims that Langdon’s catalog of work merits an equal rank alongside his great contemporaries. This biography seeks not only to redeem Langdon’s position in the pantheon of silent comedians but also to accurately portray his life story. The narrative of Langdon’s life explores his early work on the stage at the turn of the twentieth century, his iconic routines and persona in silent films, and his checkered career in the early sound period. This invaluable biography of Langdon relies on film screenings, files, and interviews with those who were closest to him to capture his true genius during the time when comedy was king.
Tom Ryall
- Published in print:
- 2011
- Published Online:
- July 2012
- ISBN:
- 9780719064524
- eISBN:
- 9781781703007
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719064524.001.0001
- Subject:
- Film, Television and Radio, Film
This is a comprehensive critical study of Anthony Asquith. The author sets the director's work in the context of British cinema from the silent period to the 1960s, and examines the artistic and ...
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This is a comprehensive critical study of Anthony Asquith. The author sets the director's work in the context of British cinema from the silent period to the 1960s, and examines the artistic and cultural influences within which his films can be understood. Asquith's silent films were compared favourably to those of his eminent contemporary Alfred Hitchcock, but his career faltered during the 1930s. However, the success of Pygmalion (1938) and French Without Tears (1939), based on plays by George Bernard Shaw and Terence Rattigan respectively, together with his significant contributions to wartime British cinema, re-established him as one of Britain's leading film makers. Asquith's post-war career includes several pictures in collaboration with Rattigan, and the definitive adaptation of Oscar Wilde's The Importance of Being Earnest (1951), but his versatility is demonstrated effectively in a number of modest genre films including The Woman in Question (1950), The Young Lovers (1954) and Orders to Kill (1958).Less
This is a comprehensive critical study of Anthony Asquith. The author sets the director's work in the context of British cinema from the silent period to the 1960s, and examines the artistic and cultural influences within which his films can be understood. Asquith's silent films were compared favourably to those of his eminent contemporary Alfred Hitchcock, but his career faltered during the 1930s. However, the success of Pygmalion (1938) and French Without Tears (1939), based on plays by George Bernard Shaw and Terence Rattigan respectively, together with his significant contributions to wartime British cinema, re-established him as one of Britain's leading film makers. Asquith's post-war career includes several pictures in collaboration with Rattigan, and the definitive adaptation of Oscar Wilde's The Importance of Being Earnest (1951), but his versatility is demonstrated effectively in a number of modest genre films including The Woman in Question (1950), The Young Lovers (1954) and Orders to Kill (1958).
Peter Bosma
- Published in print:
- 2015
- Published Online:
- November 2015
- ISBN:
- 9780231174596
- eISBN:
- 9780231850827
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231174596.003.0007
- Subject:
- Film, Television and Radio, Film
This chapter offers two case studies of curating a film programme. The first case study focuses on curating programmes of silent films. The body of work concerned consists of films made in the period ...
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This chapter offers two case studies of curating a film programme. The first case study focuses on curating programmes of silent films. The body of work concerned consists of films made in the period between 1895 and roughly 1927, so this raises the question of how these very old films relate to an audience in the twenty-first century. In this case, the task of the film curator is to discover the quality that is not immediately obvious and recognisable. There are silent films that withstand the test of time, and can be enjoyed autonomously, yet are still not widely known. It is one of the privileges of a film curator to highlight these masterpieces of early cinema. The second study explores the curatorial strategy of the EYE Film Institute Netherlands, wherein the traditional set-up of presenting film in a cinema hall is deconstructed by means of several loops on multi-screens, offering a totally new viewing experience.Less
This chapter offers two case studies of curating a film programme. The first case study focuses on curating programmes of silent films. The body of work concerned consists of films made in the period between 1895 and roughly 1927, so this raises the question of how these very old films relate to an audience in the twenty-first century. In this case, the task of the film curator is to discover the quality that is not immediately obvious and recognisable. There are silent films that withstand the test of time, and can be enjoyed autonomously, yet are still not widely known. It is one of the privileges of a film curator to highlight these masterpieces of early cinema. The second study explores the curatorial strategy of the EYE Film Institute Netherlands, wherein the traditional set-up of presenting film in a cinema hall is deconstructed by means of several loops on multi-screens, offering a totally new viewing experience.
Harper Cossar
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9780813126517
- eISBN:
- 9780813135618
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813126517.003.0002
- Subject:
- Film, Television and Radio, Film
This chapter focuses on stylistic choices that can be read as forerunners of wide film poetics. It examines experimentation in the silent era with widescreen aesthetics by auteurs deploying certain ...
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This chapter focuses on stylistic choices that can be read as forerunners of wide film poetics. It examines experimentation in the silent era with widescreen aesthetics by auteurs deploying certain stylistic devices. What experiments did filmmakers attempt that may be considered precursors of the norms following widescreen's debut in the early 1950s? Through a textual analysis of aesthetic choices in Griffith's film Broken Blossoms and Orphans of the Storm (1921), one can see that the directors of pre-widescreen films used widescreen poetics such as letterbox masking to create a wider image rather than a vertical composition. Keaton often used the long shot and resisted cutting to close-up to show his gags in full space. The discussion also looks at Gance's bravura use of his Polyvision triptych to close Napoleon.Less
This chapter focuses on stylistic choices that can be read as forerunners of wide film poetics. It examines experimentation in the silent era with widescreen aesthetics by auteurs deploying certain stylistic devices. What experiments did filmmakers attempt that may be considered precursors of the norms following widescreen's debut in the early 1950s? Through a textual analysis of aesthetic choices in Griffith's film Broken Blossoms and Orphans of the Storm (1921), one can see that the directors of pre-widescreen films used widescreen poetics such as letterbox masking to create a wider image rather than a vertical composition. Keaton often used the long shot and resisted cutting to close-up to show his gags in full space. The discussion also looks at Gance's bravura use of his Polyvision triptych to close Napoleon.
- Published in print:
- 2012
- Published Online:
- May 2013
- ISBN:
- 9780719078842
- eISBN:
- 9781781701706
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719078842.003.0008
- Subject:
- Film, Television and Radio, Film
This chapter discusses film production and explores certain principal questions of film art. It considers the relationship between film and technology and examines the aesthetic problems related to ...
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This chapter discusses film production and explores certain principal questions of film art. It considers the relationship between film and technology and examines the aesthetic problems related to the cinematic imagery present in silent films.Less
This chapter discusses film production and explores certain principal questions of film art. It considers the relationship between film and technology and examines the aesthetic problems related to the cinematic imagery present in silent films.
Victoria Duckett
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252039669
- eISBN:
- 9780252097751
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039669.003.0002
- Subject:
- Film, Television and Radio, Film
This chapter challenges the notion that Sarah Bernhardt mouthed her lines on film due to her inability to act in a fittingly naturalistic way for film, and that her famous “golden voice” is brutally ...
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This chapter challenges the notion that Sarah Bernhardt mouthed her lines on film due to her inability to act in a fittingly naturalistic way for film, and that her famous “golden voice” is brutally denied in a media that gives us the spectacle of an actress mouthing lines that we cannot hear. The chapter explains why an actress who was famous for her voice and gesture acts on silent film in terms of art nouveau acting, changes in visual literature, and the ongoing use of musical accompaniment—all of which allow us to reinterpret Bernhardt's relationship to the silent screen. It argues that Bernhardt's films record her gestural fame on the live stage, and that this fame was associated with her use of the spiral as a structuring device for action. It shows that the music that accompanied Bernhardt's films served the same purpose as it did on the live stage—to develop and expand the emotional resonance of her performance.Less
This chapter challenges the notion that Sarah Bernhardt mouthed her lines on film due to her inability to act in a fittingly naturalistic way for film, and that her famous “golden voice” is brutally denied in a media that gives us the spectacle of an actress mouthing lines that we cannot hear. The chapter explains why an actress who was famous for her voice and gesture acts on silent film in terms of art nouveau acting, changes in visual literature, and the ongoing use of musical accompaniment—all of which allow us to reinterpret Bernhardt's relationship to the silent screen. It argues that Bernhardt's films record her gestural fame on the live stage, and that this fame was associated with her use of the spiral as a structuring device for action. It shows that the music that accompanied Bernhardt's films served the same purpose as it did on the live stage—to develop and expand the emotional resonance of her performance.
Andrew Higson
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780199797615
- eISBN:
- 9780199979738
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199797615.003.0008
- Subject:
- Music, Popular, History, Western
This chapter focuses on the development of an aesthetic of correspondence between music and film in the early 1910s. It was a period of change, uncertainty and exploration, however, and despite ...
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This chapter focuses on the development of an aesthetic of correspondence between music and film in the early 1910s. It was a period of change, uncertainty and exploration, however, and despite exhortations in the trade press, attention was not generally paid to close correspondence of this sort until at least the mid-1910s. Here Andrew Higson explores a wide variety of the competing discourses in circulation during the period, including letters to, and columns from, the trade papers from the early 1910s, alongside views from manuals and—more unusually—contemporary fiction.Less
This chapter focuses on the development of an aesthetic of correspondence between music and film in the early 1910s. It was a period of change, uncertainty and exploration, however, and despite exhortations in the trade press, attention was not generally paid to close correspondence of this sort until at least the mid-1910s. Here Andrew Higson explores a wide variety of the competing discourses in circulation during the period, including letters to, and columns from, the trade papers from the early 1910s, alongside views from manuals and—more unusually—contemporary fiction.
Gabriella Oldham and Mabel Langdon
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780813169651
- eISBN:
- 9780813169996
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813169651.003.0004
- Subject:
- Film, Television and Radio, Film
Chapter 3 highlights the demise of Langdon’s successful acting career. When Langdon began directing his own films, this led to his downfall. His work as a director received less than rave reviews ...
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Chapter 3 highlights the demise of Langdon’s successful acting career. When Langdon began directing his own films, this led to his downfall. His work as a director received less than rave reviews from critics, and audiences began to abandon him. The introduction of sound in films also contributed to the collapse of Langdon’s career. This chapter shows that despite his sinking popularity and the end of silent films, Langdon persevered and continued to act, write, and direct. However, other personal and professional setbacks, including his second divorce, ultimately prevented a full comeback and a return to his former status as a comedic genius.Less
Chapter 3 highlights the demise of Langdon’s successful acting career. When Langdon began directing his own films, this led to his downfall. His work as a director received less than rave reviews from critics, and audiences began to abandon him. The introduction of sound in films also contributed to the collapse of Langdon’s career. This chapter shows that despite his sinking popularity and the end of silent films, Langdon persevered and continued to act, write, and direct. However, other personal and professional setbacks, including his second divorce, ultimately prevented a full comeback and a return to his former status as a comedic genius.
