scholarly journals A digital toolkit to detect cinema audiences of the silent era: scalable perspectives on film exhibition and consumption in Amsterdam neighbourhoods (1907-1928)

2021 ◽  
pp. 1-22
Author(s):  
Vincent Baptist ◽  
Julia Noordegraaf ◽  
Thunnis van Oort
Keyword(s):  
Film Exhibition ◽  
Silent Era

4. Watching films in the silent era

2020 ◽  
pp. 88-106
Author(s):  
Donna Kornhaber
Keyword(s):  
Social Stratification ◽  
Motion Pictures ◽  
Film Music ◽  
Distribution Patterns ◽  
Silent Film ◽  
Film Exhibition ◽  
Sound Effects ◽  
Or Groups ◽  
Silent Film Music ◽  
Silent Era

“Watching films in the silent era” explains how viewing habits changed with distribution patterns and the growth of nickelodeons and movie palaces. Social stratification affected access to both cinemas and films. Those who lived far from city centers or who were prevented from visiting luxury venues by poverty or segregation saw older films at cheaper prices. Studios tried to manage the exigencies of filmmaking by selling motion pictures in batches, while theater owners had to choose among thousands of available options in picking the films they would exhibit. Live sound effects, narration, and even dialogue were surprisingly common elements of silent film exhibition worldwide, and silent film music was a thriving industry, with organists or groups of musicians working from books of standard music rather than film-specific scores.

scholarly journals Nanook of the North (USA, 1922/1947/1976/1998) and film exhibition in the classical silent era

2016 ◽  
Vol 72 (5) ◽  
pp. 916-929
Author(s):  
Roswitha Skare
Keyword(s):  
Design Methodology ◽  
Content Type ◽  
Film Exhibition ◽  
Archival Material ◽  
Time Performance ◽  
The North ◽  
Point Of Departure ◽  
Silent Era

Purpose The purpose of this paper is to provide a discussion on whether more traditional documents like a film of the classical silent era can be discussed as an unbounded document. Design/methodology/approach By taking Gérard Genette’s concept of the paratext as point of departure and focussing on the exhibition of Nanook of the North during the silent era, the paper discusses elements neglected in most of the academic writings about the film, thereby illustrating the highly problematic notion of film as one original or authentic document that comes as a repeatable unit with clear borders. Findings More a “one-time performance” (Hansen, 1991, p. 93) than identical repetition of the film is one argument for talking about a document unbounded. Genette’s concept of the paratext provides a tool to handle the fluid character of these performances and makes us conscious about the complexity of elements both outside and inside the document and on the border between the inside and the outside. In documentation studies the concept of the paratext provides us with a terminology that allows us to place and name elements of a document belonging to its materiality. Originality/value In providing a case study based on archival material that has not been used before and is not available to a wider public, this paper shows the relevance of investigating films not as a repeatable unit with clear borders, but rather as an unbounded document.

Cinema's Military Industrial Complex

2018 ◽  
Keyword(s):  
World War Ii ◽  
World War I ◽  
Mobile Technologies ◽  
Industrial Complex ◽  
Physical And Mental Health ◽  
World War ◽  
Film Exhibition ◽  
Record Keeping ◽  
Military Industrial Complex ◽  
The Military

Cinema’s Military Industrial Complex examines how the American military has used cinema and related visual, sonic, and mobile technologies to further its varied aims. The essays in this book address the way cinema was put to work for purposes of training, orientation, record keeping, internal and external communication, propaganda, research and development, tactical analysis, surveillance, physical and mental health, recreation, and morale. The contributors examine the technologies and types of films that were produced and used in collaboration among the military, film industry, and technology manufacturers. The essays also explore the goals of the American state, which deployed the military and its unique modes of filmmaking, film exhibition, and film viewing to various ends. Together, the essays reveal the military’s deep investment in cinema, which began around World War I, expanded during World War II, continued during the Cold War (including wars in Korea and Vietnam), and still continues in the ongoing War on Terror.

Introduction

2018 ◽  
Author(s):  
Steven Cohan
Keyword(s):  
Los Angeles ◽  
Motion Picture ◽  
Motion Picture Industry ◽  
Theoretical Argument ◽  
Historical Overview ◽  
Silent Era

The introduction provides the theoretical argument of the book. It explains why the backstudio picture is not a cycle but a genre in its own right, and how the genre depicts Hollywood as a geographic place in Los Angeles, as an industry, and as a symbol. It goes on to show how the backstudio picture has historically served to brand the motion picture industry as “Hollywood,” working in much the same way as consumer brands do today. Additionally, the introduction provides a historical overview of the genre, focusing on its four major cycles of production, from the silent era to the present day. Finally, it briefly describes the content of the seven chapters.

Performance Practices and Music In Early Cinema outside Hollywood

2013 ◽  
pp. 610-619
Author(s):  
Kathryn Kalinak
Keyword(s):  
Film Music ◽  
Silent Film ◽  
Early Cinema ◽  
Performance Practices ◽  
Moving Images ◽  
Cultural Interface ◽  
Silent Era

This chapterexamines the diversity of international practices in film music outside Hollywood during the silent film era. It describes performance practices around the globe and offers a broader context in which to consider American practices during this period. It suggests that music functioned as a cultural interface throughout the silent era in a way quite different from the sound era and that music in the silent era had an impressive power to interact with moving images in ways not controlled by films or their producers.

Sign in / Sign up

Export Citation Format

Share Document