scholarly journals Polskie tłumaczenie napisowe w 1930 roku

2019 ◽  
Vol 25 (44) ◽  
pp. 59-72
Author(s):  
Elżbieta Plewa
Keyword(s):  
Initial Phase ◽  
Archival Research ◽  
Silent Cinema ◽  
Silent Films

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 The article contains previously unpublished pictures of film subtitles from the discussed period, which come from original archival research.

scholarly journals Napisy na ekranach kin II Rzeczypospolitej

2020 ◽  
pp. 214-253
Author(s):  
Elżbieta Plewa
Keyword(s):  
Initial Phase ◽  
Archival Research ◽  
Silent Cinema ◽  
Silent Films ◽  
Technical Aspects ◽  
Archival Study

Polish Subtitling in the 1930s This article presents the results of an archival study on Polish subtitling of pre-WWII films (until 1939). The main focus will be on the technical aspects of subtitling in Poland in the 1930s, such as the number of lines, number of characters per line, and subtitle display times. We will show the development of Polish film translation in its initial phase. In our article, we will present previously unpublished pictures of early film subtitles, which come from original archival research. Contrary to some previous claims, film translation 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, intertitles were a tested way of delivering content to the viewer. And these silent movies’ intertitles were translated. Copies of various foreign films have even been preserved with Polish intertitle translation rather than the original intertitles. Imitating intertitles in silent films, subtitles began to appear in films with sound and dialogue. These were “inserted subtitles” – between scene edits. Only later were subtitles burnt into the image, which began modern film subtitling.

Organ accompaniment in silent films, part 1 – the process of cinematic art creation

2020 ◽  
Vol 2 (14) ◽  
pp. 59-72
Author(s):  
Filip Presseisen
Keyword(s):  
Initial Phase ◽  
Data Flow ◽  
Anglo Saxon ◽  
Silent Cinema ◽  
Pipe Organ ◽  
Silent Films ◽  
Doctoral Thesis ◽  
Place Of Origin ◽  
The Creation ◽  
Lumiere Brothers

The idea to write music for silent films, both in a form of written-down scores and composed live has experienced its renaissance for more than ten years. Thanks to a quite decent number of preserved theatre instruments and also due to the globalisation and wide data flow options connected with it, the knowledge and interest in Anglo-Saxon tradition of organ accompaniment in cinema were able to spread away from its place of origin. The article is the first part of four attempts to present the phenomenon of combination of the art of organ improvisation with cinematography and it was based on the fragments of the doctoral thesis entitled “Current methods of organ improvisation as performance means in the accompaniment for silent films based on the selected musical and visual work”. The dissertation was written under the supervision of prof. dr hab. Elżbieta Karolak and was defended at the Ignacy Jan Paderewski Academy of Music in Poznań in 2020. The article touches on the initial phase of the development of silent cinema from 1895 to 1909. Having differentiated the terms of typical organ improvisation and the art of improvisation for silent films, the article describes the development of cinema art. From the praxinoscope invented by Émile Reynaud, through the cinematograph and the Kinetoscope (Dickson), Vitascope (Jenkins and Armat) and Bioscop (Skladanowsky brothers), it finally discusses the process how the Lumière brothers invented the cinematograph. It its further part, it presents the development of cinematography based on the improvements in theatre introduced by Méliès. The whole text serves as a basis for more parts of the article touching on the issues of the sound added to silent films and the creation of the theatre type of the pipe organ.

scholarly journals "So oft to the movies they've been": British fan writing and female audiences in the silent cinema

2010 ◽  
Vol 6 ◽  
Author(s):  
Lisa Rose Stead
Keyword(s):  
Middle Class ◽  
Working Class ◽  
Film Culture ◽  
Female Representation ◽  
Archival Research ◽  
Silent Cinema ◽  
Lower Middle Class ◽  
Silent Era

This article aims to address the ways in which working-class and lower-middle-class British women used silent-era fan magazines as a space for articulating their role within the development of a female film culture. The article focuses on letter pages that formed a key site for female contribution to British fan magazines across the silent era. In contributing to these pages, women found a space to debate and discuss the appeal and significance of particular female representations within film culture. Using detailed archival research tracing the content of a specific magazine, Picturegoer, across a 15-year period (1913–28), the article will show the dominance of particular types of female representation in both fan and "official" magazine discourses, analyzing the ways in which British women used these images to work through national tensions regarding modern femininity and traditional ideas of female propriety and restraint.

The Translation of Films, 1900-1950

2019 ◽  
Keyword(s):  
20Th Century ◽  
Language Transfer ◽  
Silent Cinema ◽  
Silent Films ◽  
International History ◽  
Complex Process ◽  
International Distribution ◽  
History Of ◽  
Audiovisual Translation ◽  
Transition To Sound

This rich collection of essays by film historians, translation scholars, archivists, and curators presents film translation history as an exciting and timely area of research. It builds on the last 20 years of research into the history of dubbing and subtitling, but goes further, by showing how subtitling, dubbing, and other forms of audiovisual translation developed over the first 50 years of the 20th century. This is the first book-length study, in any language, of the international history of audiovisual translation to include silent cinema. Its scope covers national contexts both within Europe and beyond. It shows how audiovisual translation practices were closely tied to their commercial, technological, and industrial contexts. The Translation of Films, 1900–1950 draws extensively on archival sources and expertise, and revisits and challenges some of the established narratives around film languages and the coming of sound. For instance, the volume shows how silent films, far from being straightforward to translate, went through a complex process of editing for international distribution. It also closely tracks the ferment of experiments in film translation during the transition to sound from 1927 to 1934 and later, as markets adjusted to the demands of synchronised film. The Translation of Films, 1900–1950 argues for a broader understanding of film translation: far from being limited to language transfer, it encompasses editing, localisation, censorship, paratextual framing, and other factors. It advocates for film translation to be considered as a crucial contribution not only to the worldwide circulation of films, but also to the art of cinema.

scholarly journals Voiceless Screams: Pictorialism as Narrative Strategy in Horror Silent Cinema

2021 ◽  
Vol 19 (1) ◽  
pp. 66-76
Author(s):  
Delia Enyedi
Keyword(s):  
Nineteenth Century ◽  
Short Length ◽  
Silent Cinema ◽  
Silent Films ◽  
Narrative Strategy ◽  
Fictional Narratives ◽  
Visual Pleasure ◽  
The Witch ◽  
Selection Of ◽  
Transitional Era

Abstract As a complementary condition to narrative, the notion of pictorialism in film is rooted in the first decades of the medium. In their quest to demonstrate the capturing and restoring of images with various devices, early filmmakers selected views with pictorial qualities in the long-standing tradition of painting, transferring them on film in the form of non-narrative shots. The evolution of fictional narratives in silent cinema displaced the source of inspiration in theatre, assimilating its nineteenth-century tradition of pictorialism. Thus, the film audiences’ appeal for visual pleasure was elevated with balanced elements of composition, framing and acting that resulted in pictorially represented moments actively engaged in the narrative system. The paper explores the notion of “pictorial spirit” (Valkola 2016) in relation to that of “monstration” (Gaudreault 2009) aiming to describe the narrative mechanism of provoking fear by means of pictorially constructed cinematic images in a selection of short-length horror silent films belonging to the transitional era, consisting in The Haunted House/The Witch House (La Maison ensorcelée/La casa encantada, Segundo de Chomón, 1908), Frankenstein (J. Searle Dawley, 1910) and the surviving fragments of The Portrait (Портрет, Vladislav Starevich, 1915).1

Women in the Silent Cinema

2019 ◽  
Author(s):  
Annette Förster
Keyword(s):  
North America ◽  
The Netherlands ◽  
Silent Film ◽  
Archival Research ◽  
Silent Cinema ◽  
Careful Assessment

This magisterial book offers comprehensive accounts of the professional itineraries of three women in the silent film in the Netherlands, France and North America. Annette Förster presents a careful assessment of the long career of Dutch stage and film actress Adriënne Solser; an exploration of the stage and screen careers of French actress and filmmaker Musidora and Canadian-born actress and filmmaker Nell Shipman; an analysis of the interaction between the popular stage and the silent cinema from the perspective of women at work in both realms; fresh insights into Dutch stage and screen comedy, the French revue and the American Northwest drama of the 1910s; and much more, all grounded in a wealth of archival research.

scholarly journals Fora de campo e Campo sonoro em Cinema.

2020 ◽  
Author(s):  
Fausto Cruchinho
Keyword(s):  
Sound Production ◽  
Sound Field ◽  
Sound Art ◽  
Silent Cinema ◽  
Silent Films ◽  
Moving Images ◽  
Image Creation ◽  
The Look ◽  
The Voice ◽  
True Relationship

Usually associated with the practice of cinema, offscreen is understood as everything and what is not contained in the field of cinema, in the plane of image and sound. This conference addresses the issue, placing the field and the field out of the image creation and its relation to what the plan entails and obliterates, in the same way as theatre space, the existence of another space that is filmic. In the same way, the sound field installs itself as the offscreen, to where it is sent what is not in the field. The sound construction, far from replicating the field of the image, establishes the possibility of the film being composed, in fact, by two films. The absence of sound in silent films would have its adherents in the totalizing idea of the art of moving images. However, offscreen was a real need to occupy this field. With the advent of sound, the transformations of silent cinema into sound cinema, established the possibility of a new cinematographic art, in fact two arts: silent cinema and sound cinema. The characteristics of both are not complementary, but rather simultaneous. That means a true relationship between the need of to show everything in field and to reinforce the idea that the field doesn’t exclude the offscreen. Cinema is a sound art, like music and theatre. Like them, cinema founds its nature in the replica of the human: the voice, the sound production, the silence. Like the theatre, cinema makes use of two organs for its reception and for its creation: the eye and the ear. In this way, the cinema works the look more than the see and works more listening than hear.

‘Dead as the wooden battleship’: The Fate of Silent British Features in the Transition to Sound

2020 ◽  
Vol 17 (2) ◽  
pp. 151-171
Author(s):  
Geoff Brown
Keyword(s):  
Half Life ◽  
Film Industry ◽  
Silent Cinema ◽  
Silent Films ◽  
Technical Problems ◽  
Transition To Sound ◽  
The Aesthetic ◽  
Magic Lantern ◽  
Sound Technology

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.

Women Musicians in British Silent Cinema Prior to 1930

2013 ◽  
Vol 10 (3) ◽  
pp. 563-583 ◽  
Author(s):  
Laraine Porter
Keyword(s):  
Women Musicians ◽  
Silent Film ◽  
World War ◽  
Silent Cinema ◽  
Silent Films ◽  
Art Form ◽  
The First World War ◽  
The Face ◽  
History Of ◽  
First World

Referencing a range of sources from personal testimonies, diaries, trade union reports and local cinema studies, this chapter unearths the history of women musicians who played to silent film. It traces the pre-history of their entry into the cinema business through the cultures of Edwardian female musicianship that had created a sizeable number of women piano and violin teachers who were able to fill the rapid demand created by newly built cinemas around 1910. This demand was further increased during the First World War as male musicians were called to the Front and the chapter documents the backlash from within the industry against women who stepped in to fill vacant roles. The chapter argues that women were central to creating the emerging art-form of cinema musicianship and shaping the repertoire of cinema music during the first three decades of the twentieth century. With the coming of sound, those women who had learned the cinema organ, in the face of considerable snobbery, were also well placed to continue musical careers in Cine-Variety during the 1930s and beyond. This article looks particularly at the careers of Ena Baga and Florence de Jong who went on to play for silent films until the 1980s.

Walter Reisch: The musical writer

2019 ◽  
Vol 10 (3) ◽  
pp. 295-306 ◽  
Author(s):  
Claus Tieber
Keyword(s):  
Silent Cinema ◽  
Silent Films ◽  
Final Number ◽  
Award Winning ◽  
Academy Award ◽  
Crucial Part

Academy Award-winning Austrian screenwriter Walter Reisch’s (1903‐83) career started in Austrian silent cinema and ended in Hollywood. Reisch wrote the screenplays for silent films, many of them based on musical topics (operetta films, biopics of musicians, etc.). He created the so-called Viennese film, a musical subgenre, set in an almost mythological Vienna. In my article I am analysing the characteristics of his writing in which music plays a crucial part. The article details the use of musical devices in his screenplays (his use of music, the influence of musical melodrama, instructions and use of songs and leitmotifs). The article closes with a reading of the final number in the last film he was able to make in Austria: Silhouetten (1936).

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