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Academic literature on the topic 'Silent film'
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Journal articles on the topic "Silent film"
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Peng, Alicia Inge. "Social Changes in America: The Silent Cinema Frontier and Women Pioneers." Humanities 13, no. 1 (2023): 3. http://dx.doi.org/10.3390/h13010003.
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Silent cinema acted as a bridge between early motion pictures and today’s film industry, playing a transformative role in shaping feminist film history and American society. This article explores pioneering American women in the silent film industry who ventured into technology, film culture, marginalized communities, and social movements. Despite the prevalence of racist and sexist propaganda, American silent films were a frontier for innovation, filmmaking, and exploring the New Women concept. This study examines 23 American silent films that have often been overlooked and rarely studied, whereby film analysis generally aligns with established feminist silent film theories. By shedding light on a previously overlooked film directed by May Tully, this study challenges the widespread belief that there existed “no women directors in 1925”. The examination of databases reaffirms American women directors’ contributions to silent films, especially during the early years of the silent film era. The results modify the previous scholarly notion that “influential women directors’ involvement was over by 1925”. Following an initial surge in their active leadership during the early years, influential women directors’ participation was over after 1922, rather than 1925.
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Bellano, Marco. "Silent Strategies: Audiovisual Functions of the Music for Silent Cinema." Kieler Beiträge zur Filmmusikforschung 9 (July 8, 2023): 46–76. http://dx.doi.org/10.59056/kbzf.2012.9.p46-76.
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Studies on film music have often overlooked the difference between the audiovisual strategies of sound cinema and the ones of silent cinema. However, there are at least two audiovisual strategies which are peculiar to silent cinema: a ›bridge‹ function born from the improvisational nature of silent film music practice, and a ›interdiegetic‹ function, which takes advantage of the impossibility to hear the sounds of the world seemingly positioned beyond the silver screen. This paper comments upon these two strategies. A succinct review of the literature that already acknowledged the existence of these strategies, mostly in an indirect way (from Ricciotto Canudo to Sebastiano Arturo Luciani, Edith Lang and George West) leads to the discussion of examples from historical musical illustrations of silents (e.g. one by Hugo Riesenfeld for Cecil B. DeMille’s CARMEN, USA 1915) as well as from contemporary ones (e. g. Neil Brand’s 2004 music for THE CAT AND THE CANARY, USA 1927, Paul Leni). The change in reception conditions of silent films between the early 20th century and the present days is certainly relevant; however, this paper does not aim to offer an insight into cultural-historical context and reception, but to point out how the silent film language invited composers in different periods to develop a set of audiovisual strategies that are identical on a theoretical level.
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Tieber, Claus, and Anna K. Windisch. "Musical moments and numbers in Austrian silent cinema." Soundtrack 12, no. 1 (2020): 7–20. http://dx.doi.org/10.1386/ts_00009_1.
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Although the film musical as a genre came into its own with the sound film technologies of the late 1920s and early 1930s, several characteristic features did not originate solely with the sound film. The ‘musical number’ as the epitome of the genre, can already be found in different forms and shapes in silent films. This article looks at two Austrian silent films, Sonnige Träume (1921) and Seine Hoheit, der Eintänzer (1926), as case studies for how music is represented without a fixed sound source, highlighting the differences and similarities of musical numbers in silent and sound films. The chosen films are analysed in the contexts of their historical exhibition and accompaniment practices, Austria’s film industry as well as the country’s cultural-political situation after the end of the monarchy. These two examples demonstrate that several characteristics of the film musical are based on the creative endeavours made by filmmakers during the silent era, who struggled, failed and succeeded in ‘visualizing’ music and musical performances in the so-called ‘silent’ films. In reconstructing their problems and analysing their solutions, we are able to gain a deeper understanding of the nature of musical numbers during the silent era and on a more general level.
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Nugroho, Agustinus Dwi. "The Artist: Silent Technique in Film Form." International Journal of Creative and Arts Studies 3, no. 1 (2017): 9. http://dx.doi.org/10.24821/ijcas.v3i1.1831.
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The Artist is a film that uses the silent era techniques to visualize the film. This study sought to uncover what the motivation behind the use of techniques to the silent era films with his observation of the text of both aspects of the narrative as well as aspects of the technique. The findings of the observation process could be the basis of analysis. The Artist makes this silent era technology into a cinematic technique to visualize the film. This has become a strong motivation and able to demonstrate the strength of the story as a whole that tells about the silent era transition process from the perspective of the player. The silent era techniques were used to make this technique as a force in the film. This study focuses on how the technique of the silent era emerged as a new technique in the world of film and brings new perspective in film studies. This new technique emerged because it was never used fully in the present.
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Brown, Geoff. "‘Dead as the wooden battleship’: The Fate of Silent British Features in the Transition to Sound." Journal of British Cinema and Television 17, no. 2 (2020): 151–71. http://dx.doi.org/10.3366/jbctv.2020.0517.
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Dead as the wooden battleship, dead as the magic lantern: such were the similes used in 1929 by some in the British film industry to describe the fate of silent cinema in the new talkie era. Other voices predicted a lingering half-life. Either way, most film companies faced a common problem: what to do in 1929 with their stock of silent films which were completed but unreleased. Foregrounding the activities of British International Pictures, Gainsborough Pictures and the distributors Equity British, this article explores the aesthetic, practical and technical problems in exhibiting and sonically titivating silent product as the industry adjusted to sound technology. Topics include the problems generated by the Cinematograph Films Act 1927; the damage caused by awkwardly dubbed voices; the perils of management divisions; the re-release of older silent films; audience and critical dissatisfaction; and the output of young film-makers such as John F. Argyle, who made his last silent feature, The Final Reckoning, in September 1931. British silent cinema's death, it turns out, was neither quick nor painless.
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DeCesare, Julie A. "Silent Film Online." Charleston Advisor 15, no. 4 (2014): 39–41. http://dx.doi.org/10.5260/chara.15.4.39.
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Haina, Jin. "Intertitle translation of Chinese silent films." APTIF 9 - Reality vs. Illusion 66, no. 4-5 (2020): 719–32. http://dx.doi.org/10.1075/babel.00183.jin.
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Abstract There is a misconception that film translation did not exist in China before 1949. The paper argues that the translation of Chinese silent films was vibrant in the 1920s and the early 1930s. Most of the extant copies of Chinese films from that period have bilingual intertitles. Chinese film companies have two purposes in translating their productions: the potential profit obtained from international audiences, and the desire to change the negative image of Chinese people portrayed in Hollywood films and project a positive image of China. Driven by these two objectives, Chinese film companies placed considerable emphasis on translation quality and hired both Chinese translators and foreign translators to translate their productions.
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Plewa, Elżbieta. "Polskie tłumaczenie napisowe w 1930 roku." Między Oryginałem a Przekładem 25, no. 44 (2019): 59–72. http://dx.doi.org/10.12797/moap.25.2019.44.03.
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Polish Subtitling in 1930
 Film subtitle translation, contrary to frequently quoted opinions, did not start with the introduction of sound in films, which occurred in Poland in the 1929/30 cinema season. Prior to that, in the silent cinema period, captions were a tried and tested way of delivering content to the viewer. And these silent movie captions were translated. Copies of various foreign films with Polish subtitles have even been preserved instead of the ones with the original wording. Imitating subtitles for silent films, another form of film translation began to appear in films with sound and dialogue. These were the so-called intertitles. The next way of presenting foreign content was a subtitle, which began modern film subtitling. This article concerns film subtitle translation typical of films in Poland in 1930. It endeavours to show the development of Polish film subtitle translation in its initial phase. The article contains previously unpublished pictures of film subtitles from the discussed period, which come from original archival research.
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STANCIU, CRISTINA. "Making Americans: Spectacular Nationalism, Americanization, and Silent Film." Journal of American Studies 56, no. 1 (2022): 1–37. http://dx.doi.org/10.1017/s0021875821000542.
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Examining archival footage and documents about the cultural work of silent film during the 1910s and 1920s, this essay reveals the complicity of film with the work of organized Americanization at both federal and industrial levels. Specifically, it argues that early American cinema is complicit with and critical of Americanization, as it negotiates multiple new immigrant concerns. Joining the recent work of film and immigration historians, it argues that just as Americanization did not produce compliant citizens overnight, silent film as a new and powerful medium of persuasion could influence the new American viewers’ transformation only in part. Of particular interest is the use of film in industrial and educational contexts – which sometimes overlapped – purporting to both “educate” and Americanize the new immigrants to the US. It asks, what cultural work did silent film do for Americanization, the active and sometimes coercive campaign aiming to make new immigrants into good Americans? The films I read as case studies later in this essay – industrial, educational, and nontheatrical films such as An American in the Making (1913), The Making of an American (1920), and others – illustrate the potential of silent film both as mimesis (or representation of ideology) and as ideology.
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Kasper, Loretta F., and Robert Singer. "Unspoken Content: Silent Film in the ESL Classroom." Teaching English in the Two-Year College 29, no. 1 (2001): 16–31. http://dx.doi.org/10.58680/tetyc20011982.
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Research has shown that contemporary popular films are a valuable resource in the ESL classroom. However, the short, silent film has been overlooked. Using D.W. Griffith’s The Painted Lady, Kaspar and Singer demonstrate how to use silent films to facilitate the development of ESL students’ critical thinking and writing skills.