Silent Cinema

Despite Australia being one of the most robust and progressive film industries during the early years of moving pictures, it experienced a significant decline in film production from 1915. Whether this decline was a direct result of poor government policy is something that the Royal Commission on the motion picture industry in Australia 1926–1928 investigated. Marking a significant, yet terribly neglected moment of Australian film history, the Commission surveyed a variety of issues which had stunted the development of the national Australian cinema. By surveying the early period of the Australian cinema, in this article I will discuss how the Royal Commission’s recommendations pushed for the national industry to become more active within the Hollywood world cinema model.

Despite Australia being one of the most robust and progressive film industries during the early years of moving pictures, it experienced a significant decline in film production from 1915. Whether this decline was a direct result of poor government policy is something that the Royal Commission on the motion picture industry in Australia 1926–1928 investigated. Marking a significant, yet terribly neglected moment of Australian film history, the Commission surveyed a variety of issues which had stunted the development of the national Australian cinema. By surveying the early period of the Australian cinema, in this article I will discuss how the Royal Commission’s recommendations pushed for the national industry to become more active within the Hollywood world cinema model.

According to the Bible, Eve was the first to heed Satan’s advice to eat of the forbidden fruit. The notion of woman as the Devil’s accomplice is prominent throughout the history of Christianity. During the nineteenth century, rebellious females performed counter-readings of this misogynist tradition. Hereby, Lucifer was reconceptualised as a feminist liberator of womankind, and Eve became a heroine. In these reimaginings, Satan is an ally in the struggle against a patriarchy supported by God the Father and his male priests.

This study delineates how such Satanic feminism is expressed in a number of nineteenth-century esoteric works, literary texts, autobiographies, pamphlets and journals, newspaper articles, paintings, sculptures and even artefacts of consumer culture such as jewellery.

In the material, four motifs in particular are prominent: 1) interpretations of Eve’s role in the fall of man as something positive, 2) the witch as a proto-feminist figure, 3) the demon lover as an emancipator, 4) a feminised Satan contrasted with an oppressive male God. A fifth and less central motif is conceptions of Lilith, according to Jewish lore the unruly first wife of Adam, as the first feminist.

The analysis focuses on interfaces between esotericism and the political realm, as well as the interdependence of literature and the occult. New light is thus shed on neglected aspects of the intellectual history of feminism, Satanism and revisionary mythmaking. The study is informed by theories concerning counter-readings, counter-discourses and counter-myths, and in particular highlights the complex interplay of such phenomena and the hegemonic discourses that demonised feminism. A key theme in this context is the limits and paradoxes of inversion as a subversive strategy.

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The database FILM-SHOT-COUNTER assembles and offers results of my own „cinemetric“ measurements of films and television episodes. I achieved those measurements by counting film shots by hand-clicker, processing the number of shots in particular software, or making a shot-by-shot analysis. To calculate the average shot length (i. e. ASL, a concept created by Barry Salt), I measure the film’s length in seconds (24fps in the case of sound films) and then divide it by the number of counted shots.

In my database, it is possible to find more than 3800 measurings of more or less contemporary films and television episodes from many countries. Besides the fact that you can find hundreds of ASL measurings of movies from the last decades here, the database is unique for at least three other reasons. Firstly, it includes an almost total number of preserved films of Czech silent cinema and at least 33 % of Czech sound cinema production from each year till (so far) 1933. Secondly, it covers a large number of films from Eastern European countries. Thirdly, it consists of many entirely rare silent films from the 1910s all around the world. Since I am updating the database regularly, it will continue growing more prominent.

It is necessary to point out that very ASL values are not the final results of any research. Those values are meant to be used as tools for further analysis. For what kinds of research may ASL be used? In the case of a particular film, the very ASL value will help us get a rudimentary awareness of its editing pattern, but it will not tell much more. When analyzing a particular movie, it is, therefore, much more helpful to observe the ASL’s variations during its course (for example, the ASL of individual scenes, sequences, blocks, or acts).On the other hand, by the force of ASL values or shot counts, we can gain a lot of various and inspiring suggestions for stylistic research in the case of groups of films. An acquaintance of ASL values can facilitate the juxtaposition of various film or television works of a period, region, genre, company, or particular filmmaker. The mere fact that certain films of a particular director (or period, region, company, genre, etc.) have identical or similar ASL values may not be a priori remarkable. That is because an identical or similar ASL value can be caused by a significantly different configuration of longer or shorter shots. However, it is worthwhile to consider the similarities in the case of relatively high and low ASL values – assessed against the background of the relevant norms. Nevertheless, more remarkable and predictable is when we find out that certain films of a particular director (or period, region, company, genre, etc.) have significantly different ASL than the others. These different ASL values imply a notable variability of creative choices that filmmakers made. Since that, we can put forward many research questions. I believe that my database offers extensive and reliable background for such questions.

In 2020 I added two entirely new parameters to the database, offering slightly different quantitative perspectives and comparative options than the existing ones. The first new parameter is the average number of cuts per minute of the film (CPM), which may be easier for some users to imagine than the average shot length in seconds. The second, in my opinion, a much more important new parameter is the number of cuts per hour of the film (CPH), which allows the detection of long-term trends and massive comparability. I work with this parameter in two forms in my database: optimally (a) in the form of the exact number of cuts per the first hour of the measured film; and (b) in case I do not know this number, in the proportional number of cuts per hour of the film. The exact number of cuts per hour is noted in the database with precision per unit of shots and is based on my own measurement (at a projection speed of 24fps). The proportional number of cuts per hour has been rounded to „fifties“ and „hundreds“. I’ve made hundreds of control tests of such a calculation in the cases of movies with already known the exact number of cuts per hour, and it’s relatively accurate in terms of broader trends. For the time being, I have decided to state the number of cuts per hour only for sound films because we can speak with certainty about the standardization of the projection speed in their case.

A History of Italian Cinema, 2nd edition is the much anticipated update from the author of the bestselling Italian Cinema – which has been published in four landmark editions and will celebrate its 35th anniversary in 2018. Building upon decades of research, Peter Bondanella and Federico Pacchioni reorganize the current History in order to keep the book fresh and responsive not only to the actual films being created in Italy in the twenty-first century but also to the rapidly changing priorities of Italian film studies and film scholars. The new edition brings the definitive history of the subject, from the birth of cinema to the present day, up to date with a revised filmography as well as more focused attention on the melodrama, the crime film, and the historical drama. The book is expanded to include a new generation of directors as well as to highlight themes such as gender issues, immigration, and media politics. Accessible, comprehensive, and heavily illustrated throughout, this is an essential purchase for any fan of Italian film.

Il volume ricostruisce il panorama della danza nel cinema muto italiano, ivi compresi quei film di produzione estera la cui ambientazione e tematica ne fanno un prodotto della cultura nazionale. Benché la stagione del muto si sia chiusa quasi un decennio più tardi, si è scelto come terminus ad quem il 1921, data di inizio del suo declino. Nello stesso anno fu distribuito il film La Nave, la cui danza, da sola, funge da sintesi metonimica della presenza coreutica nel cinema muto italiano.

This essay examines a particular class of ghost movies: those where the ghost is ultimately refused and relegated to the realm of human imagination and trickery. It focuses on the case of Paul Leni’s 1927 The Cat and the Canary, to show how this film remediates a long tradition of spectacular entertainments based on the rejection of supernaturalism, and how such rejection has important consequences in the narrative frame and in the nature of the gratification invited in their audience. The chapter applies the concept the “spectralization of the mind,” proposed by literature scholar Terry Castle, in order to explain the narrative and conceptual role played by ghosts in this film. Particular attention is also given to the use of superimposition techniques and to the interpretation of noise as a sign of ghostly presence.

The Glory of Women through Silent Paper-cut Animation: “Scissorhands” Lotte Reiniger’s Reflection through Body Language was selected by the Conference of Society of Animation Studies (SAS ) 2017, Chunning Guo presented it in English in SAS 2017 in Paduva of Italy.

The text explores the historicаl dialogue between Bulgaria and Asia in the context of moving pictures, as the theoretical focus is set on the earliest silent period of a “cinema of attractions”. The main question
is: what is the stepping stone for the cinematograph trying to articulate exotic remoteness? Contemporary archival studies dealing with film history and re- contextualisation of film distribution tend to tackle
the question of the connection between the viewer and the movingpictures on the screen. It is treated in terms of deictic modes, and especially with regard to visual deixis. The movie screen triggers a meta-visualization of already accumulated knowledge which, before
the emergence of cinema, had already evoked images in the minds of Bulgarians as to „what Asia is”. The early cinema opens new vistas to unknown worlds thus stimulating a grasp of cultural diversity.
Key words: Far East, Bulgaria, silent era, reception, communication,
archives



Теоретичният фокус на изследването върху историческия диалог между България и Азия е насочен към най-ранния, ням период на " забележителности и атракциони " в киното. На какво стъпва кинематографът в своя любопитен стремеж да обговори екзо-тичната далечност? В съвременната архивистика, посветена на филмовата история и реконтекстуализация на филмопоказа, се повдига въпросът и за връзката между зрителя, екрана и движещите се образи. Тя се преразглежда с оглед на модусите на деиксиса, особено на визуалния деиксис. Екранът активира и метавизуализира вече натрупано познание, което до появата на киното е успяло да реализира въображаеми картини в съзнание-то на българина за това, " що е Азия ". Ранното кино отваря врати към непознати светове и стимулира разбирането на културното многообразие.

Ключови думи: Далечен Изток, България, нямо кино, рецепция, комуникация, архиви.

Resumen:
Segundo de Chomón es sin duda uno de los grandes nombres de las primeras décadas de la Historia del Cine, merecedor de un sentido reconocimiento por sus indiscutibles y revolucionarios adelantos técnicos en materia de trucajes, efectos especiales, fotografía y otros apartados de la técnica cinematográfica. El estudio de su figura no ha resultado fácil por la escasez y parcialidad de datos sobre su carrera, pero hoy en día conocemos lo suficiente como para reconocer su enorme valía técnica y considerarle como uno de los pioneros del cine fantástico y de animación. Además, se trata de uno de los primeros profesionales del cine que pudo trabajar en las más prestigiosas compañías de la época y junto a algunos de los cineastas más recordados del cine mudo, siendo también uno de los más destacables pioneros del cine español.

Abstract:
Segundo de Chomón is undoubtedly one of the greatest figures of Film History’s first decades, worth of a deep recognition in order to his unquestionable and revolutionary technical improvements in tricks, special effects, cinematography and many other cinema technics. The studies about him haven’t been easy, due to limited and partial data about his career, but now we know enough to recognize his great technical value and to consider him as one of fantasy and animation pioneers. Furthermore, he is also one of the first cinema professionals who could work in the most renowned companies of his era and with some of the most remembered silent era filmmakers, as well as one of the most outstanding spanish cinema pioneers.

Resumen: La influencia de la prensa ilustrada sobre los primeros films de no-ficción es hoy más que evidente. Estas películas no sólo repitieron algunas de las elecciones estéticas popularizadas por la prensa gráfica sino que retomaron temáticas, historias y personajes. Sin embargo, la principal coincidencia entre estos medios fue su representación visual de la realidad como espectáculo. En la Latinoamérica de principios del siglo XX, esta espectacularización de la realidad contribuyó a crear una sensación de experiencia compartida en la que el lector/espectador podía imaginarse como parte de una comunidad y una cultura urbana, pues estas nuevas tecnologías proveían la evidencia visual de que ese universo común existía. En este trabajo centraremos nuestro estudio en la producción de falsas actualidades y en la influencia que sobre este género tuvo la extendida práctica de las fotografías teatralizadas, popularizada por la prensa ilustrada. A través del análisis de algunos ejemplos emblemáticos de este fenómeno en Latinoamérica mostraremos como el cine, al apropiarse de esta herencia visual,  fue uno de los últimos pero más populares eslabones en sumarse a una cultura de masas en la que los espectáculos se volvían cada vez más reales y la realidad se estaba convirtiendo en espectáculo.

Abstract: The influence of illustrated press on the first non-fiction films is today more than evident. These films not only repeated some of the aesthetic choices popularized by the graphic press but also borrowed from it, themes, stories and characters. However, the main coincidence between these media is its visual representation of reality as a spectacle. In early 20th Century Latin America, this spectacularization of reality contributed to create a sense of shared experience in which the reader / viewer could imagine him or herself as part of a community and urban culture, cause these new technologies provided visual evidence that this common universe existed. In this work we will focus our study on the production of reconstructed actualities and on the influence that the widespread practice of staged photography had on this genre, popularized by the illustrated press. Through the analysis of some emblematic examples of this phenomenon in Latin America we will show how cinema, by appropriating this visual heritage, was one of the last but most popular links in joining a mass culture in which spectacles were becoming increasingly real and reality was becoming a spectacle.

Resumo: O presente artigo busca entender como o cinema se desenvolveu no litoral catarinense nas duas primeiras duas décadas do século XX, em especial, na cidade de São José. Para isso, analisaremos fontes de jornais, atas de reuniões e as atividades da associação católica denominada Liga Josephense que esteve presente entre os anos de 1910 a 1923. Outro ponto de destaque, é compreender como a Liga através de sua rede de contatos nas mais variadas esferas da sociedade, utilizou do cinema para obter lucro e grande prestígio social, entendendo que a mesma estava inserida em uma conjuntura maior que o ambiente local. Palavras-chave: Cinema; São José-SC; Liga Josephense.

The dawn of cinema on the coast of Santa Catarina: the case of the Josephense League (1910-1923)

Abstract: This article seeks to understand how cinema was developed in the Santa Catarina coast in the first two decades of the twentieth century, especially in the city of São José. For this, we will analyze newspaper sources, meeting minutes and the activities of the Catholic association denominated Liga Josephense that was present between the years of 1910 to 1923. Another important point is to understand how the League through its network of contacts in varied layers of society, used cinema to obtain profit and great social prestige, understanding that it was inserted in a bigger conjuncture than the local environment.

Analiza “Der Hund von Baskerville” Richarda Oswalda z 1929 r.

Piszę o tym, co odróżnia film Oswalda od pozostałych ekranizacji przygód Sherlocka Holmesa. Wyjaśniam, czemu ten film zaginął na ponad pół wieku. Opisuję rolę, jaką odegrał fandom w procesie rekonstrukcji.

Staram się dociec, z jakiego powodu akurat ta adaptacja filmowa Psa Baskerville’ów jest kultowa.

Within the strategies built upon the intentional weakening of the diegetic efficiency a group apart is formed by those films which try to reach this gesture of destruction by resorting to the diegetically weaker, in this sense pre-discursive way of expression of the silent cinema. In this paper the author analyze two films from this perspective: Guy Maddin’s Careful (1992) and Esteban Sapir’s La Antena (2007).
The plot of these films coupled with the effect achieved by the mimicry of the silent film challenges interpretation. What are the discursive functions in the contemporary cinema of the silent film-like formal principles and techniques weakening the diegetic effect, such as the absence of the synchronized sound and the use of the intertitles in the film? The hypothesis is, that the turning to the visual style of the silent film is associated with the problematization of the medial relationship between image and text, image and voice respectively, and is manifested both at the level of the fable and in the use of the filmic techniques.

HUFFINGTON POST BEST FILM BOOK OF 2016, FINALIST FOR RICHARD WALL MEMORIAL AWARD, LONGLISTED FOR KRASZNA-KRAUSA BEST MOVING IMAGE BOOK OF 2016. Marlene Dietrich, Greta Garbo, and Katharine Hepburn all made lasting impressions with the cinematic cross-dressing they performed onscreen. What few modern viewers realize, however, is that these seemingly daring performances of the 1930s actually came at the tail end of a long wave of gender-bending films that included more than 400 movies featuring women dressed as men.

Laura Horak spent a decade scouring film archives worldwide, looking at American films made between 1908 and 1934, and what she discovered could revolutionize our understanding of gender roles in the early twentieth century. Questioning the assumption that cross-dressing women were automatically viewed as transgressive, she finds that these figures were popularly regarded as wholesome and regularly appeared onscreen in the 1910s, thus lending greater respectability to the fledgling film industry. Horak also explores how and why this perception of cross-dressed women began to change in the 1920s and early 1930s, examining how cinema played a pivotal part in the representation of lesbian identity.

- Chosen by Huffington Post as one of the Best Film Books of 2016
- 2016 Choice Outstanding Academic Title
- Longlisted for the Kraszna-Krausz Best Moving Image Book of 2016
- Finalist for 2016 Richard Wall Memorial Award by the Theatre Library Association
- Reviewed by: Times Higher Education, Times Literary Supplement, Gay & Lesbian Review Worldwide, Women’s Studies, Journal of American History, Feminist Media Studies, The Women’s Review of Books, Publishers Weekly, Library Journal (Starred review)

Cet article raconte les différentes phases de l'histoire du Max Linder Panorama : sa création par un entrepreneur norvégien du nom d'Halfdan Nobel Roede, sa reprise par l'acteur Max Linder, l'ère Siritzky, la reprise par l'équipe de l'Escurial, etc.

Para la historiografía que se ha ocupado de la historia del cine español, la figura del explicador no ha pasado hasta ahora de ser poco más que un personaje citado en contadas ocasiones, casi siempre por protagonizado alguna anécdota curiosa o divertida. Fuera de nuestras fronteras, los autores que se han ocupado del tema suelen reconocer que todavía no se sabe demasiado sobre el explicador, y frecuentemente formulan sus opiniones sobre el mismo en forma de suposición. Lo cierto es que esta figura parece poseer cierto halo inaprensible. El carácter oral de su tarea y el hecho de que, en cierto sentido, cumpliera una función en la película desde una posición físicamente externa a la misma, justifican la carencia de un rastro fílmico o escrito generados por el propio explicador. Así que, a menudo, se tiene la impresión de que los datos recabados sobre él tan solo ayudan a fijar su contorno, eso sí, tan sugerente que promueve la elaboración de múltiples hipótesis sobre su auténtica personalidad y su trascendencia para la historia del cine.

Esta ponencia presenta avances de una investigación en curso  que se propone estudiar la producción cinematográfica en el primer medio siglo de su existencia en la Argentina. En particular, se centra en el periodo silente.
Por producción cinematográfica se entiende no al producto, esto es, las películas, sino al entramado de agentes involucrados en su producción. Esto incluye principalmente a las empresas productoras, pero también se considerarán empresas de servicios (laboratorios, distribuidoras, exhibidoras, etc.). Para ello se ha relevado información en la bibliografía y en fuentes de la época, algunas de las cuales han sido escasamente exploradas.
El tratamiento de los datos hace necesaria una contextualización y una perspectiva sistémica, que contemple todo el circuito de la industria del cine —producción, distribución, exhibición y consumo—. La presentación de los resultados tomará la forma de una cronología que pone especial énfasis en datos cuantitativos que en la bibliografía existente suelen ser escasos. Por ejemplo, se incluirán cuadros, gráficos y mapas que permitan dimensionar aspectos organizacionales, económicos y geográficos de las características de la industria en distintas épocas.
La metodología utilizada implicó una revisión bibliográfica, pero que no se atuvo meramente al conocimiento del estado del arte, sino que esta revisión tuvo como clave el relevamiento de datos que en la bibliografía suelen tener una importancia secundaria. Con lo relevado se construyó una base de datos cuya principal variable son las empresas y que permitió establecer —aunque no en todos los casos— fechas de fundación y cierre de las mismas, socios y dueños, dirección, principales películas producidas y los principales nombres propios (directores, etc.) con los que se vinculó. También se relevaron censos, catálogos, almanaques y otras publicaciones gráficas de la época que ofrecen datos sobre productoras, laboratorios, distribuidoras y salas de exhibición.

Only jokes that have a purpose run the risk of meeting with people who do not want to listen to them.-Sigmund Freud, Jokes and their Relation to the U~zconscious (London, lW), p. 90. Chaplin's comedy was unique. His wide-ranging jabs at institutions and authority as well as his propensity for crude, even dirty jokes were allowed no other comedian of his time. His humor was so effective that it vanquished its opposition. When audiences were under the spell of his comedy, almost anything became permissible. And yet this shattering of respect was not without risks, particularly once Chaplin's humor waned-as it did later in his career. In the late 1940s and early 1950s, as Chaplin came under attack for his politics as well as his personal life, sympathetic American critics tried to rescue his reputation and his films. After briefly surveying the already substantial writings on Chaplin, Theodore Huff concluded that the screen character he created was a little man buffeted by life. The comedian "worked out a common denominator of fun and feeling that accords with something in every age, class, and race of people the world over. Chaplin is universal and timeless." This strain of criticism was prominently and adeptly amplified, though in a more ironic mode, by Walter Kerr. For him, The secret of Chaplin as a character is that he can be anyone. That is hi pmblem. The secret is a devastating one. For the man who can, w i t h a flick of a finger or the blink of an eyelash, instantly transform himself into absolutely anyone is a man w h o must, i n his heart, remain no one2 These efforts to defend Chaplin's integrity as an artist severed him not only from the very social, economic and cultural context in which he worked, but also from the context in which his films were initially seen. While intended as a defense, or at least a sympathetic reading of Chaplin's comedies, these writings might more aptly be seen as efforts to bowdlerize them, to make his humor safe for that universal audience. In contrast, this article seeks to resituate RADICAL HISTORY REVIEW 41 1988

The 1920s saw the worldwide creation of the ‘City Symphony Films,’ avant-garde montages of the daily lives of cities. This study is grounded in the historical context of the modernisation of time, demonstrating how these films reflected and coped with the rise of an abstract and standardised conception of temporality.
Through the analysis of the historical reception of the films, I argue that they were perceived as offering an alternative to the precise and impersonal measure of the clock by using cinematic time as an experiential duration, set by the depicted action and the attempt to affect viewer’s emotions through their bodily sensations.
Watching these films today highlights the extent to which the processes of unification and standardisation have only intensified since, causing a rift between time and the human body. The antidote offered by these films, in the form of cinematic time as an experiential time that affects viewers through their bodies, is relevant today more than ever.

Film restoration in general is full of dilemmas. Working on the restoration of applied colour films in
particular presents different levels of difficulties. This thesis aims to discuss the challenges met as well
as the various methods used particularly in the digital colour restoration of applied colour silent era to
provide a reference for the possible current technologies and techniques used in digital colour
restoration of such difficult historical films. It will be pointed out that the line between colour grading
for enhancement and for maintaining the look close to the original is blurred. Therefore there will be
discussions about the ethics involved in colour restoration, the responsibilities of the restorer and the
colourist, why having just an eye for colour is not enough and that being informed about conservation
disciplines is also necessary when dealing with colour restoration of archival material. This thesis will
act as a bridge between two worlds: the archives/curators and the post—to stage that unspoken
dialogue between them because of limited understanding on both practices.

Few in Hollywood knew that James Young Deer, general manager of Pathé Frères West Coast Studio from 1911 to 1914, was really an imposter. After all, Young Deer had earned a reputation as the first Native American producer and had worked alongside D. W. Griffith, Fred J. Balshofer, and Mack Sennett.  For decades, he eluded film historians.  But after ten months of poking through dusty archives and faded vital records, the identity of this mysterious filmmaker finally came to light.

Viagem ao cinema silencioso do Brasil foi organizado por Samuel Paiva e Sheila Schvarzman e editado em 2011.  É  resultado dos encontros de um grupo de pesquisadores de cinema brasileiro coordenado por Carlos Roberto de Souza, Luciana Corrêa de Araújo e Arthur Autran. Graças à sua ideia de criação de um espaço de reflexão sobre o cinema brasileiro silencioso, teve início este projeto.Igualmente fundamental, foi o suporte da Cinemateca Brasileira, que acolheu o grupo dando-lhe as condições de trabalho, viabilizado com a participação de vários colegas da instituição que contribuíram de maneiras diversas para esta
publicação, Inclui artigos desses pesquisadores e outros como Flávia Cesarino Costa, Annateresa e Mariorosaria Fabris, Guiomar Ramos, Ana  Lobato, Paulo Menezes, Alfredo Suppia e Glênio Póvoas, trazendo artigos de vários aspectos do cinema do período silencioso brasileiro, pouco conhecidos do público e mesmo de pesquisadores.

"This book explores the phenomenon of silence in schools, considering a wide range of its appearances and uses. Starting from a discussion of the negative and coercive aspects of silence in schools, the discussion moves quickly onto examples of how silence in school environments generates a positive influence in the education of children.

Silence is currently undervalued as a pedagogical tool. Nevertheless it is cost-free and educationally significant. The discussion in this book covers some of the ways in which silence is currently being used in schools through the introduction of meditation, quiet spaces and silent moments and how such uses are enhancing and affecting school experience. The explorations in the book also consider how awareness of silence can be developed to change school cultures, notably towards more democratic and reflective practices.

This book is of interest to head teachers, classroom teachers, policy makers, educational researchers and parents. The conclusions drawn offer useful international applications and can be impactful in many different types of educational setting.