This revised guide to silent film studies contains two new chapters that present an analysis of color technology and aesthetics. They look at how silent films are saved, restored and made accessible via archives. Aided by new material, this book is a survey of the first 30 years in the history of film.
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Language Notes
Text: English (translation)
Original Language: Italian --This text refers to an out of print or unavailable edition of this title.
Original Language: Italian --This text refers to an out of print or unavailable edition of this title.
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18 of 18 people found the following review helpful:
5.0 out of 5 stars
A feast for the silent film fan,
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This review is from: Silent Cinema, an Introduction (Distributed for the British Film Institute) (Paperback)
If you have ever wondered what a film archivist does, this book is for you. If you are really serious about your passion for silent films, this book is for you. Mr Usai's concise book is packed full of research tips. There are over 50 illustrations, many in color, of all kinds of different early film frames (70mm, 35mm, 9.5mm, 28mm) plus early color processes, even early 3-D frames. He explains how the early color processes worked and how early films were assembled. He goes into great detail on how that silent film that you may watch today may be drastically altered from the original in the early 1900s. And he explains the many frustrating problems that silent film archivists encounter. He explains the pitfalls of compiling filmographies, and how some printed sources are valuable and others are worthless. If you are just becoming interested in silent films, this book will be too much for you. But if you are really interested in the "nuts and bolts" of archive work, or the detective work that we do to study silent cinema, then you won't be able to put this book down!
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Inside This Book
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Until about 1905 the size and shape of perforations varied from one company to another. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, George Eastman House, United States, Library of Congress, United Kingdom, Davide Turconi, Museum of Modern Art, Los Angeles, Oxford University Press, Paolo Cherchi Usai, University of California Press, Henri Langlois, Vincent Pinel, Vittorio Martinelli, Arno Press, Buenos Aires, Cinema Journal, David Bordwell, Japanese Film, Laurent Mannoni, Soviet Union, Aldo Bernardini, Charles Urban, John Belton, Princeton University Press New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Until about 1905 the size and shape of perforations varied from one company to another. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, George Eastman House, United States, Library of Congress, United Kingdom, Davide Turconi, Museum of Modern Art, Los Angeles, Oxford University Press, Paolo Cherchi Usai, University of California Press, Henri Langlois, Vincent Pinel, Vittorio Martinelli, Arno Press, Buenos Aires, Cinema Journal, David Bordwell, Japanese Film, Laurent Mannoni, Soviet Union, Aldo Bernardini, Charles Urban, John Belton, Princeton University Press New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 75
books:
See all 75 books this book cites
- Silent Film (Depth of Field) by Richard Abel on 6 pages
- Film History: An Introduction by Kristin Thompson on 4 pages
- A Passion for Films : Henri Langlois & the Cinematheque Francaise by Professor Richard Roud on page 76, page 87, and page 90
- History of Movie Photography by Brian Coe on page 16, page 17, and page 40
- World Directory of Moving Image and Sound Archives (Film-Television-Sound Archives, Vol 5) by Wolfgang Klaue on page 88, and Back Matter
See all 75 books this book cites
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