Last week, I played my first in-person show at the Cinema Arts Centre since February 2020. Before the show, CAC regulars whom cinema co-director Dylan Skolnick and I hadn’t seen in 2+ years stopped to say hello and to chat.… Read More »“The Language of Silent Film”, Beyond the Blog
Language of Silent Film
Like the other points I’ve made about the culture and styles of the era of the 1910s and 1920s being unessential for Silent Film, the same should be held for storylines and story tropes. As ubiquitous as many typical plots… Read More »Stories for Today, Just Like in the Silent Era
I’ve covered what I’ve observed in titles cards in silent movies from the ‘teens and ‘twenties in a handful of posts earlier on in this series. I’d like to go over a few points about intertitles again to clarify which… Read More »Intertitles for Modern (Contemporary) Times
There have been a handful of silent movies made over the past several decades that were released commercially. These pictures received good reviews and did well at the box office. Reviewers and fans wondered, each time, if this mightn’t be… Read More »Silents in the Sound Era
It came from France. Ironically similar to the way Sennett was influenced by the physical comedy shorts released by Gaumont and Eclipse, and by Ambrosio in Italy, a sea change in long-form comedy film made its way to American shores… Read More »Keep the Silence, Lose the Linear Narrative
Filmmakers’ love for silent cinema has held on throughout the post-Vitaphone decades, and the form has popped up from time to time. I say “form” and not “medium” as the definitions of Silent Film I’ve been discussing are not always… Read More »Whatever Happened to Silent Movies?
What makes Silent Film its own medium, and not merely a genre of film, is its unique and specific messing with our expectations of reality. This was never planned or intended, but from the early 1910s onward the silence, the… Read More »Silent Film and Expectations of Reality