A silent movie is a synchronized sound movie (and in particular, no spoken dialog). In silent films for entertainment, dialogue is conveyed through the use of silent movements and pantomimes in conjunction with title cards, written indications of plots and key dialog lines. The idea of ​​combining moving images with sound recordings is almost as old as the film itself, but because of the technical challenges involved, the introduction of synchronized dialogue became practical only in the late 1920s with the perfection of the Audion booster tubes and the emergence of the Vitaphone System. During the era of silent films from the mid-1890s to the late 1920s, a pianist, a theater player - or even, in big cities, small orchestras - often played music to accompany the films. Pianist and organist will play either from sheet music, or improvisation.
The term silent film is retronym - a term made to distinguish something retroactively. The earliest sound film, beginning with The Jazz Singer in 1927, variously referred to as "talkie", "sound film", or "talking image". Within a decade, the production of silent films for popular entertainment has ceased, and the industry has moved entirely into the era of sound, where the films are accompanied by synchronized voice recording of oral dialogue, music and sound effects.
Most silent films produced in the late 19th and early 20th centuries are considered missing. According to a September 2013 report published by the United States Library of Congress, about 70 percent of the silent feature films of America fall into this category. There are many reasons for this amount to be so high; most are deliberately destroyed, but many others disappear by accident. Due to the desire to free up storage space, movie studios will often destroy silent films decades after their theatrical theater, which perceives them to have lost their cultural relevance and economic value. Due to the fragile nature of the stock of nitrate films where many silent films are recorded, many are deteriorated or lost in accidents like fire (because nitrates are highly flammable and can burn spontaneously if stored incorrectly). Many such films that are not completely destroyed survive only partially or in severely damaged prints. Some missing films, such as London After Midnight (1927), have been the subject of great interest by film collectors and historians.
Elemen
Video Silent film
Elemen dan permulaan (1895-1936)
The starting precursor for the film begins with image projection through the use of a device known as a magic lantern, which utilizes glass lenses, shutter, and persistent light sources (such as powerful lanterns) to project images from glass slides onto walls. This slide was originally hand-painted, but, after the advent of photography in the 19th century, photographs are still used. Thus the invention of the practical photography tool preceded the cinema only fifty years.
The next important step towards the discovery of cinema is the development of an understanding of motion pictures. Simulate the date of movement as far back as 1828 - just four years after Paul Roget discovered the phenomenon he called "Vision Persistence". Roget points out that when a series of still images is displayed at sufficient speed in front of the viewer's eyes, the image merges into a single registered image that appears to show motion. This is an optical illusion, because the image does not really move. This experience is further demonstrated through Roget's introduction of thaumatrope, a device that spins at a fairly high disk speed with images on its surface.
The three features required for moving images are "camera with a fairly high shutter speed, filmstrip capable of taking multiple exposures quickly, and the means of projecting images developed on screen". The first projected proto-films were made by Eadweard Muybridge between 1877 and 1880. Muybridge installed rows of cameras along the racetrack and timed photo shoots to capture many stages of the racetrack. The oldest surviving film (from a genre called "pictorial realism") was created by Louis Le Prince in 1888. It was a two-second movie of the man walking in the park "Oakwood streets", titled Roundhay Garden Scene, i>. The development of American inventor Thomas Edison's Kinetograph, a photographic device that captured sequential images, and his Kinetoscope, a tool for viewing the images, allowed the manufacture and exhibition of short films. Edison also made a business selling Kinetograph and Kinetoscope equipment, which laid the foundation for widespread film production.
Due to Edison's lack of securing an international patent on his film discovery, similar devices are "discovered" all over the world. In France, for example, Auguste and Louis LumiÃÆ'¨re created CinÃÆ'Â © matographe, which proved to be a more portable and practical device than both Edison as it combines camera, film processor and projector in one unit. Unlike the Edison "peepshow" kinetoscope, which can only be watched by one person, the cinematograph allows simultaneous sightings by many. Their first film, Sortie de l'usine LumiÃÆ'¨re de Lyon, was shot in 1894, considered the first true film. The discovery of a celluloid film, strong and flexible, greatly facilitates the making of motion shots (although celluloid is highly flammable and rapidly decomposes). The film is 35 mm wide and drawn using four sprocket holes, which became the industry standard (see 35 mm film). It turns off cinematography, which only works with movies with a single sprocket hole.
Maps Silent film
Silent movie era
Art images move into full adulthood in the "silent era" (1894 in film - 1929 in the film). The height of the silent era (from the early 1910s in films until the late 1920s) was a very productive period, filled with artistic innovation. Movements of Classic Hollywood films as well as French Impressionism, German Expressionism, and Soviet Montage began in this period. The silent filmmaker pioneered the art form to the extent that almost every style and genre of filmmaking of the 20th and 21st centuries has its artistic roots in the silent age. Silent Era is also a pioneer from a technical point of view. Three-point lighting, close-ups, long shots, panning, and continuous editing all became prevalent long before the silent films were replaced by "talking pictures" or "talkies" in the late 1920s. Some experts claim that the artistic quality of the cinema declined over the years, during the early 1930s, until film directors, actors, and production staff adapted entirely to new "talkies" around the late 1930s.
The visual quality of silent films - especially those produced in 1920 - is often high, but there is still a widely held misconception that these films are primitive, and barely can be watched by modern standards. This misunderstanding stems from the unfamiliarity of the general public with the medium, as well as from carelessness on the part of the industry. Most silent films are not well preserved, leading to damage, and well-preserved movies often play back at the wrong speed or suffer cutting sensors and lost frames and scenes, giving a poor editing appearance. Many silent movies only exist on the second or third copy, often made from the stock of damaged and neglected films. Another widely held misconception is that silent films have no color. In fact, the colors are much more prominent in silent films than in the first few decades of sound films. In the early 1920s, 80 percent of films can be seen in color, usually in the form of film tinting or toning (ie "staining") but also with real color processes like Kinemacolor and Technicolor. The traditional staining process stops with the adoption of sound-on-film technology. Traditional film coatings, all of which involve the use of dyes in some form, interfere with the high resolution required for the sound recorded inside, and therefore abandoned. The innovative three-color process introduced in the mid-30s is costly and full of limitations, and the colors will not have the same prevalence in film as it did in silence for nearly four decades.
Intertitles
As the films gradually increase in time, replacements are needed for home translators who will explain the parts of the film to the audience. Because silent movies do not have sound synced for dialogs, on-screen intertitles are used to narrate the story points, presenting key dialogs and sometimes even commenting on the action for the audience. The title writer becomes a key professional in silent films and is often separated from the scenario writers that create stories. The intertitle (or title as they are generally called at the time) often becomes the graphical element itself, featuring an illustration or an abstract decoration commenting on the action.
Live music and other sounds
The silent film show almost always features live music, starting with the guitarist, on the first public projection of the film by the LumiÃÆ'¨re brothers on December 28, 1895, in Paris. This was continued in 1896 by the first moving-picture exhibition in the United States at Koster and Bial's Music Hall in New York City. At this event, Edison set a precedent that all exhibits must be accompanied by an orchestra. From the very beginning, music was recognized as something important, contributing "atmosphere", and giving emotionally important cues to viewers. (Musicians sometimes play on film sets during filming for the same reason.) However, depending on the size of the exhibition site, musical accompaniment can change drastically on a scale. Small town cinema and the neighborhood usually have a pianist. Beginning in the mid-1910s, large city theaters tend to have organ or ensemble musicians. The massive theater organ, designed to fill gaps between simple solo piano players and larger orchestras, has a variety of special effects. Theatrical organs such as the famous Wonglitzer Mighty can simulate multiple orchestral sounds along with a number of percussion effects such as bass drums and cymbals, and sound effects ranging from "boat trains and whistles [to] car horns and whistles; some can even simulate gun shots, phone rings, the sound of the waves, hooves, destroying pottery, [and] thunder and rain ".
The musical score for early silent films either improvised or compiled classical music or theater repertoire. Once the full feature becomes common, however, the music is compiled from photoplay music by the pianist, organist, orchestra conductor or the film studio itself, which includes a guide sheet with the film. These sheets are often long, with detailed notes on the effects and moods to watch out for. Starting with a largely original score compiled by Joseph Carl Breil for the breakthrough epic D.Ã, W. Griffith The Birth of a Nation (1915), it became relatively common for films with the biggest budgets arriving at the showcase theater with original and special scores. However, the first complete designated full score was actually compiled in 1908, by Camille Saint-SaÃÆ'n for The Assassination of the Duke of Guise, and by Mikhail Ippolitov-Ivanov for Stenka Razin .
When organists or pianists use sheet music, they may have added improvised improvements to improve the play on screen. Even when special effects are not shown in scores, if an organist plays a theater organ capable of producing unusual sound effects such as "galloping horses", it will be used during a dramatic horse chase scene.
At the height of the silent era, the film is the greatest source of work for instrumental musicians, at least in the United States. However, the introduction of talkie coupled with the onset of the Great Depression that occurred simultaneously has destroyed many musicians.
A number of countries find other ways to bring sound to silent films. The earliest Brazilian cinema, for example, featured fitas cantatas : an opera that was filmed with a singer performing behind the scenes. In Japan, movies show not only music but also benshi , live narrators that provide comments and character sounds. The benshi is a central element in Japanese films, as well as providing translations for foreign (mostly American) films. The popularity of benshi is one of the reasons why silent films survived well into the 1930s in Japan.
Return value from 1980 to present
Some movie scores survive intact from the period of silence, and music experts are still faced with questions as they try to reconstruct the remaining people. Scores used in current reissues or silent film screenings may be a complete reconstruction; newly prepared for this event; assembled from existing music libraries, or improvisations in place by means of silent era theater musicians.
Interest in silent film scores declined somewhat from fashion during the 1960s and 1970s. There is confidence in many campus movie programs and cinema treasures that viewers must experience silent films as pure visual media, without interruption by music. This belief may be driven by the poor quality of music tracks found on many reprints of silent films at the time. Since around 1980, there has been a resurgence of interest in presenting silent films with musical quality scores (either reworking period scores or reference sheets, or an appropriate original scoring composition). This initial effort was Kevin Brownlow's 1980 restoration of Abel Gance's Napolà © Å © on (1927), featuring a score by Carl Davis. Brownlow's slightly revised and accelerated version of the restoration was then distributed in the United States by Francis Ford Coppola, with a live orchestra score compiled by his father Carmine Coppola.
In 1984, an edited restoration Metropolis (1927) was released with a score of new rock music by producer-composer Giorgio Moroder. Despite contemporary scores, which include pop songs by Freddie Mercury, Pat Benatar, and Jon Anderson of Yes, are controversial, the door has been opened for a new approach to the presentation of classic silent films.
Today, a large number of soloists, musical ensembles, and orchestras feature traditional and contemporary scores for international silent films. The legendary theater player, Gaylord Carter continues to perform and record the original silent film score until just before his death in 2000; some of those values ​​are available on DVD repeated. Other providers of traditional approaches include organists such as Dennis James and pianists such as Neil Brand, GÃÆ'¼nter Buchwald, Philip C. Carli, Ben Model, and William P. Perry. Other contemporary pianists, such as Stephen Horne and Gabriel Thibaudeau, often take a more modern approach to scoring goals.
Orchestral conductors such as Carl Davis and Robert Israel have written and compiled scores for many silent films; many of these have been featured in performances in Turner Classic Movies or have been released on DVD. Davis has compiled new scores for classic silent dramas such as The Big Parade (1925) and Flesh and the Devil (1927). Israel has worked primarily in silent comedies, scoring films Harold Lloyd, Buster Keaton, Charley Chase and others. Timothy Brock has recovered many of Charlie Chaplin's scores, in addition to composing a new score.
Contemporary musical ensembles help introduce classic silent films to a wider audience through various styles and musical approaches. Some players create new compositions using traditional musical instruments while others add electronic sound, modern harmony, rhythm, improvisation and sound design elements to enhance the viewing experience. Among the contemporary ensembles in this category are Un Drame Musical InstansiÃÆ'Â ©, Alloy Orchestra, Club Foot Orchestra, Silent Orchestra, Mont Alto Motion Picture Orchestra, Minima and Caspervek Trio, RPM Orchestra. Donald Sosin and his wife Joanna Seaton specialize in adding vocals to silent movies, especially where there is a song on the screen that is beneficial from hearing the actual song being played. Movies in this category include Griffith's Lady of the Pavements with Lupe VÃÆ' Â © lez, Edwin Carewe Evangeline with Dolores del Rio, and Rupert Julian The Phantom of the Opera with Mary Philbin and Virginia Pearson.
The Silent Sound and Music Archive films digitize sheet music and gestures written for silent films and make them available for use by players, scholars, and fans.
Acting techniques
Silent movie actors emphasize body language and facial expressions so viewers can better understand what the actors feel and perceive on the screen. Many silent film acts tend to attack modern audiences as simple or simple. The melodramatic acting style in some cases is a custom actor who was removed from the previous stage experience. Vaudeville is a very popular origin for many American silent film actors. The presence of stage actors in the film was the cause of this explosion from director Marshall Neilan in 1917: "The faster the stage people who come into the picture come out, the better for the pictures." In other cases, directors like John Griffith Wray oblige their actors to give a greater expression of life to emphasis. As early as 1914, American viewers began to know their preferences for greater naturality on the screen.
The silent films became less vaudevillian in the mid-1910s, as the distinction between the stage and the screen became clear. Due to the work of directors like D. W. Griffith, cinematography becomes less like a stage, and then revolutionary closure allows smoother and naturalistic acting. Lillian Gish has been called the "first true actress" film for her work in that period, as she pioneered new movie show techniques, recognizing the important differences between stage and screen acting. Directors such as Albert Capellani and Maurice Tourneur began demanding naturalism in their films. By the mid-1920s many American silent films had adopted a more naturalistic acting style, though not all actors and directors received naturalistic, low-key live acting; until late 1927, films featuring expressive acting styles, such as Metropolis , were still released. Greta Garbo, who debuted in 1926, will be known for his naturalistic acting.
According to Anton Kaes, a silent film scientist from the University of California, Berkeley, American silent theaters began to see a shift in acting techniques between 1913 and 1921, influenced by the techniques found in German silent films. This is mainly due to the influx of emigrants from the Weimar Republic, "including film directors, producers, cameramen, lighting and stage technicians, as well as actors and actresses".
Projection speed
Up to the standardization of 24 frames per second (fps) projection speed for sound films between 1926 and 1930, silent films were shot at variable speed (or "frame rate") anywhere from 12 to 40 fps depending on year and studio.. "The standard silent film speed" is often said to be 16 fps as a result of the LumiÃÆ'¨re brothers' CinÃÆ' Â © matographe, but industry practices vary widely; no real standards. William Kennedy Laurie Dickson, an Edison employee, occupies an incredible 40 frames per second. In addition, cameramen of the day insisted that their crank technique was exactly 16 fps, but modern film examinations showed it was wrong, that they often rotate faster. Unless shown carefully at the speed of the targeted mute film may appear unexpectedly or quickly. However, some scenes were deliberately under-received during filming to speed up action - especially for comedy and action films.
Slow projection of a cellulose nitrate base film carries a risk of fire, since each frame is exposed for a longer time to the intense heat of the projection lamp; but there are other reasons to project the film at greater speed. Often projectionists receive general instructions from distributors on a music director's guide sheet on how fast a roll or certain scene should be projected. In rare cases, usually for larger production, the specially manufactured sheet for the projector provides detailed guidance for presenting the film. Theaters too - to maximize profits - sometimes the projection speed varies depending on the time of day or the movie's popularity, or to adjust the movie into the specified time slot.
All motion picture film projectors require a moving shutter to block the light when the film is moving, otherwise the image is applied to the movement. However, this shutter causes the image to be flicker, and a low-level image is not very pleasant to watch. Early studies by Thomas Edison for his Kinetoscope machine determined that any number under 46 images per second "would interfere with the eye". and this applies to images projected in normal cinema conditions as well. The solution adopted for Kinetoscope is to run movies at more than 40 frames/sec, but this is expensive for movies. However, by using projectors with double and triple blade windows, the flicker level is multiplied two or three times higher than the number of film frames - each frame is flash twice or three times on the screen. The three-blade shutter projecting a 16 fps film will slightly surpass Edison's figure, giving 48 shots per second to the audience. During silent period projectors are generally equipped with 3-bladed shutters. Since the introduction of sound with 24 frames/second of standard speed, 2-bladed shutters have become the norm for 35 mm cinema projectors, although three-blade windows remain standard on 16 mm and 8 mm projectors, often used to project amateur footage shot at 16 or 18 frames/second. A 35 mm film frame rate of 24 fps translates to a film speed of 456 millimeters (18.0 inches) per second. A 1,000-foot (300 m) reel requires 11 minutes and 7 seconds to be projected at 24 fps, while a 16 fps projection of the same reel will take 16 minutes and 40 seconds, or 304 millimeters (12.0 in) per second.
In the 1950s, many telecine conversions of silent films at the wrong frame rate for television broadcasting may have alienated viewers. The speed of the film is often an issue of annoyance among scholars and film buffs in today's silence presentation, especially when it comes to DVD releases of restored films, such as the case of the restoration of 2002 Metropolis (Germany, 1927).
Coloring
With the lack of natural color processing available, silent films are often immersed in dyestuffs and dyed various shades and colors to signal the mood or represent a time of day. The date of hand painting returned to 1895 in the United States with Edison releasing hand-colored prints selected from Butterfly Dance . In addition, experiments in color films began in early 1909, although it took longer for the colors adopted by industry and an effective process to develop. The blue color represents the night scene, yellow or yellow means day. Red represented fire and green represents a mysterious atmosphere. Similarly, toning film (such as generalized silent generalizations of sepia-toning) with a special solution replaces silver particles in film stock with salt or colored dyes of various colors. The combination of tinting and toning can be used as a striking effect.
Several films were hand-colored, such as Annabelle Serpentine Dance (1894), from Edison Studios. In it, Annabelle Whitford, a young dancer from Broadway, wore a white veil that seemed to change color as she danced. This technique was designed to capture the effects of Loie Fuller's live show, starting in 1891, in which the stage lights with the colored gels changed the waving white dress and the arm into an artistic movement. Hand coloring is often used at the beginning of "tricks" and European fantasy movies, especially those by Georges MÃÆ'Ã… © liÃÆ'¨s. MÃÆ'Â Â © liÃÆ'¨s began to tidy up his work since 1897 and 1899 Cendrillion (Cinderella) and 1900 Jeanne d'Arc (Joan of Arc) gives early examples of films colored hands where color is an important part of scenography or mise en scÃÆ'¨ne ; such precise staining used the Elisabeth Thuillier workshop in Paris, with teams of female artists adding a layer of color to each frame by hand rather than using the more common (and cheaper) stencil process. The new version of MÃÆ'Â © liÃÆ'¨s' A Trip to the Moon , originally released in 1902, shows the use of vibrant colors designed to add texture and interest to the image.
In the early 1910s, with the onset of long films, tinting was used as another mood setter, just like ordinary music. Director D. W. Griffith shows constant interest and concern about color, and uses tinting as a special effect in many of his films. The 1915 epic, The Birth of a Nation , uses a number of colors, including amber, blue, lavender, and flashy red for scenes like "Atlanta burning" and a trip from Ku Klux Klan at the top of the image. Griffith then discovers a color system in which colored lights flash on the screen area to get color.
With the development of sound-on-film technology and industry acceptance, tinting is abandoned altogether, as the dyes used in the coloring process interfere with the soundtrack on the film strip.
Initial studio
The early studio is located in the New York City area. Edison Studios first in West Orange, New Jersey (1892), they were transferred to the Bronx, New York (1907). Fox (1909) and Biograph (1906) began in Manhattan, with studios in St George, Staten Island. Other films were shot in Fort Lee, New Jersey. In December 1908, Edison led the formation of the Moving Image Joint Venture Company in an effort to control the industry and shut down smaller producers. The "Edison Trust", as dubbed, consists of Edison, Biography, Essanay Studios, Kalem Company, George Kleine Productions, Lubin Studios, Georges MÃÆ'Ã… © liÃÆ'¨s, PathÃÆ'Â ©, Selig Studios, and Vitagraph Studios, and distribution dominated through the Public Film Company. The company dominates the industry both as a vertical and horizontal monopoly and is a contributing factor in studio migration to the West Coast. The Motion Picture Patents Co. and General Film Co. found guilty of antitrust violations in October 1915, and dissolved.
Thanhouser film studio was founded in New Rochelle, New York, in 1909 by the American theater impresario Edwin Thanhouser. The company produced and released 1,086 films between 1910 and 1917, including the first ever film series, The Million Dollar Mystery , released in 1914. The first western film was filmed at Fred Scott's Film Ranch in South Beach, Staten Island. Costumed cowboy and Native American actor ran across the set of Scott's film farms, which have border main roads, a wide selection of stagecoaches and a 56-foot stadium. The island provides a serviceable stand-in for diverse locations such as the Sahara desert and English cricket field. The war scene was shot on the Grasmere plain, Staten Island. The Perils of Pauline and its more popular sequel The Exploits of Elaine were filmed mostly on the island. So did the 1906 Life of a Cowboy blockbuster by Edwin S. Porter. Companies and filmmakers moved to the West Coast around 1911.
Best-selling silent film in the United States
The following are American films from the silent film era that had grossed the highest gross in 1932. The amount given is gross rent (part distributor of box-office) as opposed to gross exhibitions.
During the voice era
Transitions
Despite attempts to make sync sound films return to Edison's lab in 1896, only from the early 1920s were basic technologies such as vacuum tube amplifiers and high-quality loudspeakers available. The next few years saw the race to design, implement, and market several rival sound-on-disc and sound-on-film sound formats, such as Photokinema (1921), Phonofilm (1923), Vitaphone (1926), Fox Movietone (1927) and RCA Photophone (1928).
Warner Bros. is the first studio to receive sound as an element in film production and utilize Vitaphone, the sound-on-disc technology, to do so. The studio later released The Jazz Singer in 1927, which marked the first commercially successful sound film, but the silent film still became the majority of the features released in 1927 and 1928, along with what was called goat-glanded movie: silent with sound movie sub-section inserted. Thus the era of modern sound film can be considered to come to the beginning of domination in 1929.
For a list of well-known silent films, see List of years in movies for the years between the beginning of the film and 1928. The following list includes only films produced in the era of sounds with a specific silent artistic objective.
- City Girl â € <â € <, F. W. Murnau, 1930
- Earth , Aleksandr Dovzhenko, 1930
- Borderline , Kenneth Macpherson, 1930
- The Silent Enemy , H.P. Carver, 1930
- City Lights , Charlie Chaplin, 1931
- Taboo , F. W. Murnau, 1931
- I'm Born, But... , Yasujir? Ozu, 1932
- Passing Fancy , Yasujir? Ozu, 1933
- Goddess , Wu Yonggang, 1934
- Weed Floating Story , Yasujir? Ozu, 1934
- Legong , Henri de la Falaise, 1935
- Lodging in Tokyo , Yasujir? Ozu, 1935
Later next
Some filmmakers have paid tribute to the comedy of the silent era, including, Charlie Chaplin, with Modern Times (1936), Orson Welles with Too Much Johnson (1938), Jacques Tati with Les Vacances de Monsieur Hulot (1953), Pierre Etaix with The Suitor (1962), and Mel Brooks with Silent Movie (1976). The famous drama director Hou Hsiao-hsien from Taiwan Three Times (2005) did not speak for a third of it, complete with text; Stanley Tucci The Impostors has a silent opening sequence in the early silent comedy style. Brazilian filmmaker Renato FalcÃÆ'Â ° o's Margarette's Feast (2003) is silent. Writer/Director Michael Pleckaitis puts his own twist on the genre with Silent (2007). Although not silent, the sir. Bean television and movie series have used the nature of non-talker characters to create a similar style of humor. The lesser-known example is JÃÆ'Â © rÃÆ'Â'me Savary's La fille du garde-barriÃÆ'¨re (1975), a tribute to silent films that use intertitles and combine comedy, drama, and sex explicitly. scenes (which led to the rejection of cinema certificates by the British Film Classification Board).
In 1990, Charles Lane directed and starred in Sidewalk Stories, a low-budget honor for a quiet sentimental comedy, especially Charlie Chaplin The Kid.
The German film Tuvalu (1999) is mostly silent; a bit of dialogue is a strange mixture of European languages, which increases the universality of film. Guy Maddin won the award for his reverence on Soviet silent films with the brevity of The Heart of the World after which he made his silent-length feature, Brand Upon the Brain! (2006), incorporating direct Foley artists, narratives and orchestras at a particular show. Shadow of the Vampire (2000) is a very fictional depiction of the classic silent vampire filmmaking Friedrich Wilhelm Murnau Nosferatu (1922). Werner Herzog respects the same movie in his own version, Nosferatu: Phantom der Nacht (1979).
Some films draw a direct contrast between the silent film era and the talkie era. Sunset Boulevard shows the break between two eras in Norma Desmond's character, played by silent film star Gloria Swanson, and Singin 'in the Rain deals with Hollywood artists who adjust to the talkies. Peter Bogdanovich's 1976 film Nickelodeon dealt with the shock of making silent films in Hollywood in the early 1910s, leading to the epic release of D.Ã, W. Griffith The Birth of a Nation > (1915).
In 1999, Finnish filmmaker Aki KaurismÃÆ'¤ki produced Juha , which captured the silent film style, using intertitle instead of spoken dialogue. In India, the movie Pushpak (1988), starring Kamal Hassan, is a completely black comedy with no dialogue. The Australian film Doctor Plonk (2007), is a silent comedy directed by Rolf de Heer. The stage drama has been drawn on the silent and source film style. Actor/writer Billy Van Zandt & amp; Jane Milmore staged their Off-Broadway slapstick comedy Silent Laughter as a direct action award to the silent screen era. Geoff Sobelle and Trey Lyford created and starred in All Wear Bowlers (2004), which began as a tribute to Laurel and Hardy then evolved to include the Sobelle and Lyford silent movie sequences that jumped back and forth between direct action and silver screen. The animated film Fantasia (1940), which consists of eight different animated sequences assigned to music, can be considered a silent film, with only one short scene involving dialogue. The Thief spy film (1952) has music and sound effects, but there is no dialogue, as does Thierry ZÃÆ'Â's no. 1974 Vase de Noces and Patrick Bokanowski's 1982 The Angel .
In 2005, H. P. Lovecraft Historical Society produced a clandestine film version of Lovecraft's story The Call of Cthulhu . The film maintains an accurate shooting style, and was accepted as "the best HPL adaptation to date" and, referring to the decision to make it a silent film, "brilliant pride".
The French Movie The Artist (2011), written and directed by Michel Hazanavicius, serves as a silent film and is set in Hollywood during the silent era. It also includes a fictitious mute movie segment that starred its protagonist.
The Japanese vampire movie Sanguivorous (2011) is not only done in a silent movie style, but even toured with a live orchestra companion. Eugene Chadbourne has been among those who have played live music for this film.
Blancanieves is a black and white and black mute drama in 2012 written and directed by Pablo Berger.
The long-lived US film Silent Life began in 2006, featuring performances by Isabella Rossellini and Galina Jovovich, mother of Milla Jovovich, premiering in 2013. The film is based on a silent screen life. icon Rudolph Valentino, known as Hollywood's "Big Lover". After an emergency operation, Valentino lost his reality grip and began to see memories of his life in Hollywood from a coma point of view - as a silent film featured in a movie palace, a magical portal between life and timelessness, between reality and illusion.
Right There is a 2013 short film that honors the mute movie komedi.
The British animated film 2015 Shaun the Sheep Movie based on Shaun the Sheep was released to the positive and successful reviews at the box office. Aardman Animations also produced Morph and Timmy Time as well as many other silent short films.
The American Theater Organ Society pays homage to mute film music, as well as theater organs that play such music. With more than 75 local branches, the organization seeks to preserve and promote theaters and music, as an art form.
Preservation and lost movie
Many of the early motion pictures were lost because the nitrate films used in that era were so unstable and flammable. In addition, many movies are deliberately destroyed because they have little value in the era before home video. It has been commonly claimed that about 75 percent of silent films have disappeared, although these estimates may be inaccurate due to lack of numerical data.
The major silent films allegedly missing include:
- Saved from the Titanic (1912), featuring survivors of the disaster;
- The Life of General Villa , starring Pancho Villa itself
- The Apostle , the first feature animated feature (1917)
- Cleopatra (1917)
- Gold Diggers (1923)
- Kiss Me Again (1925)
- Arirang (1926)
- The Great Gatsby (1926)
- London After Midnight (1927)
- Gentlemen More Choosing Blondes (1928)
Although most of the lost silent films will never be found, some have been found in movie archives or private collections. The found and preserved versions may be editions made for the rental markets of the 1920s and 1930s found in real estate sales, etc. Degradation of old film stocks can be slowed down through proper filing, and films can be transferred to digital media for conservation.. Preservation of silent films has become a top priority for historians and archivists.
Dawson City Cache
Dawson City, in the Yukon region of Canada, was once the end of the distribution line for many films. In 1978, a cache of over 500 nitrate film rolls was discovered during the excavation of vacant land formerly the site of the Amateur Dawson Athletic Association, which began showing the film at their recreation center in 1903. Works by Pearl White, Harold Lloyd, Douglas Fairbanks, and Lon Chaney, among others, is included, as well as many news stories. Titles were kept in local libraries until 1929 when combustible nitrate was used as a landfill in a cursed swimming pool. After spending 50 years under the Yukon permafrost, the scroll was very well preserved. Due to the volatility of hazardous chemicals, the discovery of history was transferred by military transport to the Canadian Library and Archives and the US Library of Congress for storage (and transfer to safety film). A documentary about the discovery, Dawson City: Frozen Time was released in 2016.
See also
References
Bibliography
Further reading
External links
- Film Archive Sunful Archive Internet
- Directory of Silent Film Musicians at Brenton Films - a comprehensive database of past and present musicians
Source of the article : Wikipedia
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