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THE WIND: "Aiming at the foot" by David Holm

On November 10, the film Wind (The Wind , 1928) turned 80 years of its release. Occasion of this anniversary, this blog has been (and will) time open to your suggestions for analysis, tribute or point in relation to the tape of the U.S. leg of Sjöström. In waiting to publish, with some delay, some contributions, including his own, put here by David Holm, head of Silent Recanto , which several times has left us generously her words. Targeting

foot

One foot can sometimes give more information than a face. Dispense with words and sounds to convey emotions requires a little ingenuity:

Gif sequence

When Letty Lige and, once married, are in the solitude of home, the man begins the approach to the consummation of marriage, but not be responsive Letty . Given this scenario, the husband decides to leave the room. Through door, the man waits for the moment while the woman is afraid. As an animal on the prowl, Lige her courage is anxious walking back and forth, the ride is quite different Letty, nervous, expectant, fearful. The foreground of the feet we processed a lot of information and avoids the inability to transmit sound. In addition to his gait, the level of our feet faces two beings: he a tough guy, reflected in its rugged and worn boots, and she, frail and helpless, with his immaculate shoes, practically brand new, shoes entirely inadequate to cope with the harsh desert. The man stops in his walk and immediately the girl belongs. Behold the ear to which I alluded earlier. Letty was disturbing to every step that crossed the physical division between the two rooms, silence means something, with hardly any time to ask whether her husband by accident desist in their efforts, a kick to throw the cup before angrily leaving the bedroom, just the crashing metal container wall as a symbol of patience filled, the order pending the outcome of events. We continue with the feet, the shoes are pivoted to be perpendicular to the door, to face, or rather, to accept reality. Steady progress of the boots, they stand to take the last drive after crossing the threshold of the door, then fine shoes that seemed resigned to give a meaningful, so significant as small, step back. When both pairs are finally confronted, Letty's right foot, recoils slightly, evidence that is not meeting desired and also shows that their ability to avoid this is really small.

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INTERVIEW WITH JAIME LOPEZ, silent film piano accompanist


One of the aspirations when we started this journey does today, November 16, two years was to not only provide the analysis of films, but also help meet the disclosure and the media and people who help spread the silent art, preserve, recreate and enrich the present. One hopes, in this sense it was closer to the office and accompanying pianist accompanying silent films. In another article of this blog, "The silent film pianists" , and offered an outline of what the situation was pianist in the early twentieth century. Now, the Jaime López hand, we approach the work and concerns of an actual piano. A truly enriching interview that begins with self-presentation of the respondent, whom we thank for his words here.

I started studying music at age 7 in the choir of Infantes del Pilar de Zaragoza. It was a boarding school where I spent 6 years in which, above all, learned music, since he had to attend to the worship of the Cathedrals. Yes, learned by immersion, but we do not want.

I did my studies at the Conservatory and soon, in 19 years, I started playing in a pub in the city that was called "Pianola."

My first "official" job was at the Dance School of the City of Zaragoza. I was a piano accompanist and ruler of sound in the Ballet de Zaragoza disappeared for ten years and returned to my Town Square Professional Dance Conservatory, where I am today as a pianist.

By the way, I joined bands, made music for gymnastics, music rehearsals with the Drama Centre of Aragon, I worked on some discs ... now I focus more on the silent film and a regular contributor to "The Magic Lantern" Days Silent Film Uncastillo, the programming of "The Bell of the Lost", a charming pub in Zaragoza, and the cycle of Mills Music and Word (Teruel).

How did you get this job, as an original purpose or as a specialization as a musician?

I came by chance. My Friends "magic lantern" (a fabulous film project for children who are in Zaragoza) called me because they needed to accompany The Adventures of Prince Achmed , Lotte Reiniger. With the audacity that gives ignorance, I agreed without hesitation ... and even today. This addictive.

Did you follow any specific academic background, if any, or with practice learned from a career opportunity? Is there a tradition of academic, public or private, here or in any other country in this regard? Specific training

not think there is. At least here in Spain.

I started playing the piano in a pub Zaragoza named "La Pianola" in which he accompanied as "Granada" by Agustin Lara, the song of the Cola-Cao. Hilarious were years in which I acquired an ease and ability to improvise which are indispensable in the accompaniment of silent films. Then

chance

help too. Do not forget that all my professional life I've been accompanying ballet and ballet is just a dumb story told with music and movement. I am convinced that Giselle in black and white, would be a great argument for a silent-movie melodrama. It has everything. In this way, my way of ballet to the silent film was only a small change.

As for tradition, in Spain there are not many musicians who do it. But there are great.

For those who want to venture into this world as a professional, what advice, readings, music codes, etc. would you recommend?

"Repertoire? Everything you hear can be used in a movie. Everything.

music I love cartoons. Some feel that Mickey mousing (for which he does not know, the usual music that accompanies the scenes of the cartoon) is an easy solution and considers inferior. I find it fascinating. The persecution of Tom and Jerry are musical prodigies. Obviously, not try to follow that way the Murnau Faust, but for comic scenes is the most direct and immediate.

The only advice I give is ... dare to dare.

I can assure that it is not as complicated as it may seem from the outside. The end result of the joint music / image far exceeds the quality of music that can be added. And always in the next movie you make can avoid the flaws you see in the present.

And who, without engaging in it, I know something of its history, trends, and others, especially books? There

lot of information on the Internet and specialized sites (like yours) that perform a special informative work. Or www.cines-clasico.com, maintaining impressive forums on the most disparate of cinema.

The literature is almost endless:

· Álvarez, Rosa; Arce, Juan Carlos .- The harmony that breaks the silence. Conversations with Pepe Nieto. Valladolid : 41 th International Film Festival, 1996.

· Nieto, José .- Music for the image. The secret influence. Madrid: SGAE, 1996.

· Theodor W. Adorno and Hans Eisler film and music. Madrid: Basics 1976 (2 nd ed.1981).

· Gillian B. Anderson Music for the silent films. 1894-1929. A guide. Washington DC: Library of Congress, 1988.

Hundreds of publications, books and magazines offer courses on various aspects of film and music.

I recently wrote in relation to an article published here on the situation of the pianists in the era of silent films and I said that their conditions have not changed much. Is it so precarious that situation?

No, I have not really complain about. When it comes to acting, adrenaline clears everything. The laughter of an audience laughing at the plight of Buster Keaton help solve any possible discomfort. When I

attended screenings with live music, I saw a score ahead pianists who occasionally looked at the screen and others do not take her eyes off the screen without any score. Do you improvise or part of a score more or less internalized? I imagine that there is a previous work with the movies at home, composing melodies and knowing the scenes and possibilities. How does this work before?

that already are different ways of dealing with the film.

I do not use any score in the role, but before I developed a thorough work on the film.

usually get enough time the film to accompany you. First

see the film without sound and I "describing" written, more or less as if he were telling someone. During that process are the various issues that have to characterize the characters and situations.

Or not. You can spend weeks without finding the subject that adequately describes an environment and, suddenly, when you least expect, you find the idea of \u200b\u200ba song they are listening to your children. For example, right now, after months of searching, I am testing to use the love theme from The Incredible Hulk as the idea of \u200b\u200bLove Theme The three lights of Fritz Lang. With that is enough said. Once

musically characterized the characters and situations, write the subject in score and add to the written description. This is a fairly laborious process, but helps set the melodies in memory of a very precise way. In addition to finish putting together a complete script narration and music.

When everyone has a melody begins the making of the film itself.
Using a sequencer (I use Cubase , but it serves everyone, of course) I will accompany the images with my keyboard connected to your computer and save it as MIDI. In this way I make sure the sheet music for all music. After I add the images and sound and I think a movie with my music, I record on DVD, getting "my" version of the film. It takes work, but not difficult.

But let me add one thing: the real act of accompanying a film occurs when performing live.

Once you have finalized the DVD with your movie, go over it and say, "Look how well it has been, or what Light that ...." However, when you do live a different story. There comes a time when you become a sort of medium between the images and the viewer and notes how it is music going through you from unintentionally. It may seem an exaggeration (which has happened to him no sound of pure snobbery, I understand), but that happens.

And if you hear a child laugh at a joke you just follow the rush is awesome.

What do you think there are differences between composing for silent films and talkies?

The first and most immediate, in the silent film music have to do constantly. The silences are deafening silent movies.

Then there are the differences in narrative and action of the characters somehow also influence the music.
In the silent film music puts into the mouths of the characters the words that are not heard. Usually helps to describe situations such direct argument as a dialogue in the talkies. On the contrary, no one would hear a spoken movie soundtrack that was heard continuously over the talks. It would be burdensome and excessive.

That is why the musical resources to be used are different.

Do you think your role is to accompany or play?

certainly follow. Interpreting an image
music otherwise than as a viewer is watching is quite difficult to achieve. After all, you are also a spectator. The music is a function of the image. Furthermore, if a spectator suddenly discovers "listening" music, is that it has come to the forefront and taken the place of the image.

A mistake, in my opinion.

In silent films, many titles were different scenes chromatically by emotion or by topic. I imagine that this kind of resource helps you to develop or implement various types of melody. Or limited?

I think I have ever occurred. In Visages d'enfants Of Feyder are some scenes tinted blue to highlight the nocturnal action. Personally, I'm supposed to aid the viewer time to understand the music as "night."

remember the case of music for the last Murnau, which I found very loud for a movie so intimate, but it was the music chosen in his day, composed by Becca. When there is a score already established, what is the relationship with her pianist?

Whatever they say, the scores are only there to help the musician, not imposed. Indicate the "what" not "how", which is important.

While doing

Fausto, Murnau, found in the Film Archive Luciano Zaragoza Berriatúa a book which featured a photograph with the score of the theme of the girl. It was a very nice that it coincided with the idea that I had to watch the movie without sound, so I took it. But it would have no problem not hire or change it to make it otherwise.

I think after what I have told of Fritz Lang and The Incredible Hulk will understand what I mean.

silent film fans have lived since the organ of the American editions of Grapevine or the old English Currency, to large orchestrations often working with the ARTE channel and better cared issues, to issues that put any kind of music to the film, go or not go to the movie. I think for example in some intriguing titles that make you move to the music of Hitchcock Presents or the old-fashioned and cutting-edge electronic music that have had films like Metropolis . What do you think of it? Where do you think can be the boundary between the evolution of music, respect for the film and its era, and the need for a style of musicians and labels that edit my movies?

I think it's essential to find the right tone of the film, its particular environment. So I see no sound, because the images and transmit enough information.

insist that the function of music is to accompany and enhance the images. They are able to evoke or create the right receiver (in this case the piano) music that fit your message.

Another thing is that obviously is not the same orchestra that the ten fingers of a pianist.

not necessarily have to be a film more intimate piano with orchestra. I can assure you with a piano can do waaaaay flourishes and all kinds of slapstick, if necessary. And there are more than enough orchestral resources for a scene is wonderfully intimate.

As for electronic music and avant-garde, I do not understand at all. I dare not say it's bad, but me as a viewer does not work. Is a more aesthetic appeal, but I do not like.

And that Metropolis lends itself to such experiments. Just opened in Zaragoza at the end of last year a dance theater show, with music by Victor Rebullida , employing the resources of music Contemporary with a fabulous result.

I do not think that is normal. I am afraid that is not a matter of aesthetic choice, but the budget.

Regarding the latter, is there historical trends of interpretation for silent films they face, theoretical schools that are aligned to one or another musician to define your style? It is an invitation to whether we can make a minimum timeline of how this art has been addressed.

Humans are so used to unite image and sound (even after a flash forward to the thunder, as well says Salvador Àngel Batlle) without it is almost impossible to accept as real the images on the screen.

has been said that cinema pianists joined to silence the noise produced film projectors, but not exactly true.

The music and sound effects have always accompanied the theater since the Greeks and Japanese kabuki through the Elizabethan theater. We must not forget that cinema began as a sideshow attraction and is needed from the outset all the fanfare as possible to attract staff.

Initially incorporated cinemas pianists to accompany the images with popular songs had nothing to do with the images. It was a show and we had everything. The crowd booed the bad songs that I knew and hummed. They spoke and commented on the movie and read aloud the subtitles could not read.

A ambientazo.

As the film is becoming a business, entrepreneurs choose more the musicians hired to accompany these films.

Gradually the music was refined and distributors of movies sent along with the tapes shown in the songs that could accompany the scenes. Encyclopedias songs appeared largely of classics, broken down by situation: music for dueling, to persecutions, to love scenes, for robbery ... The best known were Motion Picture Moods for Pianists and Organists and Encyclopedia of Music for Pictures , Erno Rapee, the Kinobibliothek or Kinothek Giuseppe Becce or Music-sheets of Hugo Riesenfeld.

theaters that could have kept budget more string quartets and the great theaters, orchestras.

In an effort to simplify the orchestral resources came new instruments: the musical electrical bells and organ Wurlitzer, one of the most important instruments of the period, with a lot of records, imitating different orchestral instruments, and includes effects such as gunfire, birds, thunder ...

not until 1914 with The Birth of a Nation by David W. Griffith, when the first film with his own music. Of course, consisting mainly of fragments of classical works. Thereafter
begin to realize the importance of music in the outcome of the movie, and with the advent of talkies, appear composers specialized in film music.

guess names like Carl Davis are a reference. I also see Japanese musicians often appear in the list of composers. Not to mention national names such as Joan Pineda. What are the basic names for you and you have a title that we have to fix on everything, because you consider it a masterpiece of composition for films?

course there are great film music. The version of José Nieto to The village of the damned , Florian Rey, is a work of art. Not even to speak of His Holiness John Williams, Ennio Morricone, Max Steiner and Bernard Herrmann ... That is the Olympus.
But I am a pianist and a much more limited resources. I've heard recordings
Javier Perez de Azpeitia superb pianists and other embodied that have interested me at all. My colleagues in the Silent Film Days Uncastillo Carlos González, Mariano Villanueva and Josetxo Fernández Ortega are true masters.

And now, back to you: where can we see in the coming weeks or months?

I live in Zaragoza and I'm in for everything that moves. At the moment
I have referred to the Days Uncastillo Silent Film and the next cycle and Word Music Molinos (Teruel), but there are contacts with the Instituto Cervantes, the Goethe Institute, some universities and other institutions that are at the Aragon expected to materialize.

What annual events in Spain or in nearby countries you recommend?

Why not, the days of silent film Uncastillo and the cycle of music and words of Molinos (Teruel). There are dozens of silent film festivals and I have participated in the Aneres (France) which is very interesting. Many films and pianists and environment charming.

also a pianist, you are a spectator. What are your movies titles head? Do you enjoy as a spectator or just simple music that sounds like you put in the foreground?

From silent films I love Buster Keaton and Charles Bowers for laughing, so absurd that they can become. The Young Sherlock is a masterpiece of ingenuity.

series, Fausto and Dawn of Murnau, The village of the damned, Florian Rey, The three lights of Fritz Lang ... I think I'm a bit melodramatic.

The truth is that if they finish in the music by looking too professional strain and that is a nuisance.

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ESPECIAL "EL VIENTO" (1928): Roberto loved

T to as announced earlier this summer, in autumn, while the usual course of the blog, we would spend a collective tribute to The wind in this space would be open until 10 November (date on which the movie turns 80 years since its release) to cooperate in any more or less extensive, written or drawn, either in a tone of formal paper or a small tribute to witness given viewer. I emphasize the latter, in case anyone discourage the tone of discourse with which to start this tribute, an article by Roberto loved, which may also be read in its kinodelirio.com .

Many thanks to Robert, and encouragement to those who want to participate, however modest it as their contribution.

"WIND." Letty and Kantian synthesis

Author: Roberto loved
Published: Kinodelirio and Silent Passion
Salamanca, October 2008.


technology often tries curb the imagination and finds that talent strives to achieve. This claim seems ridiculous today, indeed it is, and accept only if we turn, technology helps achieve. Both propositions are not at all reliable, much less a century ago, back in the silent cinema.

Everything was so embryonic as daring. Some technologies with its limitations and advantages, were employed by the filmmakers (directors, photographers, art directors, etc.) Before normalization years later from the production business fronts. The results were in their heads and largely pulled the brake technology.

No doubt they were more daring than the possibilities offered by technologies available, and did not hesitate to play with depth of field, with the release of the camera, on location, modulation of the screen using the cache and the iris, etc. Often it seemed that the innovations were in tow as a consequence of a false process of organic evolution: the development of emulsions, sets, set construction, play with the objectives of shorter focal length, etc.

field was the pioneer, it was all to explore and the burden of the convention was being phased out boldly and with open bar for creativity. Borders do not exist, and if it were established temporarily, be extended, retracted, came a more stubborn and visionary settler, opened new routes. The device itself as a technological object, and offered a variety of tools too powerful to stand on trifles. In short, we can not miss the success of the genre "pioneers" during the period, the silent film, then as a meta-exploration. Learning.

learning versa

And largely, the film that the Swede Victor Sjöström directed in 1928. The Wind and its protagonist named Letty, played by Lillian Gish, will lead the funeral of another of those "restrictions" means the absence of sound, as one of the participants in human communication, helplessly pushing a performance model based on excessive gesticulation. But we must point out that such reasoning can not be detached from the sophistry, for several reasons, among which we highlight a few:

1. The influence of sound in language (spoken) is not ultimately to achieve successful communication.

2. This model was neither universal nor uniform, but ended up identifying some kind of dramatic performance, often female, with the whole. Forgetting the refinement achieved by the art of mime during those years. Let us

film. Its structure does not present a sharp separation can be seen in some European films of its director. Here, the storyline and character development are more progressive, although there continues to be a clear division into three acts. And now we do not refer explicitly to the segmentation performed by intertitles, which is used in its Swedish production line very Central European film and substrate narrative, fictional or dramatic, they used to use. The four acts announced for their cards carefully, scheduled the film.

We say that no difference in the structure itself and the intensity put into your joint, that is, some of the most famous examples of Swedish stage in accordance with the following pattern:

• Happiness and Stability: the family as a symbolic vehicle to display appropriate
• radical
  sudden loss of that condition: great suffering
• redemption and / or atonement: now using the individual and their values.
  
  

The formula works seamlessly and quickly moves to empathy with the characters, which tend to be faithful representatives of a humble middle class, which is why their hardships over the entire second block, we are even more painful. Just remember the poor Ingeborg Holm (1913, pictured below), resounding example, after an entrepreneur whose start-up (going to start a business) will see how it all falls apart with the death of her husband, the loss of children and his own insanity, to, finally, find some comfort and redress to the suffering.

Terje Vigen (There once was a man, 1917) will follow this scheme, and Berg-Ejvind hustru och hans ( Outlaws, 1918), Klostret i Sendomir ( Sendomir Monastery, 1920) and, with nuances, He Who gets slapped ( He Who Gets Slapped , 1924), and in his American period.

Now in Wind, Letty will live a time of apparent calm and happiness during the first third of the film, but his pain will be just a result of this learning step of their new environment, touching the face and the peak end, coinciding with the madness announced years earlier Ingeborg Holm , and will be quickly overcome in the end.

To which we, the learning process Letty is the actual cause of trauma, first as a disappointment and second, mental degradation. The naive girl from Virginia will choose the wrong method that becomes frustrating and your condition will respond more to this cause hostility and windy desert habitat. His particular initiation, a clear subtext of the film and will give everything to unpleasant sensory capacity. Letty, embrace empiricism as a means of understanding the world and thus, stacking as many mental and sensory deficits as grains his ramshackle arena door.

empiricism ends up far from reality, a victim of this dangerous mechanism that equates tautological representation concept and mental image perception, where the latter two would only be distinguished according to degree of intensity. The differences between the sensitive and the mental and, therefore, between the perceptual and cognitive, are not taken into account as an integral process of a processing chain that does not respond to automatic (intersection of brain processes), the passivity ( predisposition of the subject), or essences (the great weight of experience, but no empirical historical subject.) Letty


never sees his new life is just the sensing, trying to catch with some ways that are revealed as insufficient to accomplish the task. The consequence of this is readily apparent: the protagonist ends up hating and fearing everything from the impact of expressions (Nature and human) it receives. Hear the wind hit the trees, and until it materializes through those windows constants we perceive as effective reverse shot from their point of view to increase the dramatic tension and a symbol of madness to be installed and making their mark in your mind. Look through those windows but just see, and his empiricism, and not the sand, who barrier. Letty


smell that res flayed by the jealous wife of his cousin, the stench as a new aggressive element. Foster brother of smell, taste, also arrives to upset with that stale coffee that serves Lars and especially with the kiss picture you rejected it in the mouth. Letty touches her delicate hands are scorched by the iron shortly after he had made a gesture as delicate as inappropriate for the place to scratch with your fingertip sand accumulated on the slices of bread. The touch also prove to be false, as well as unsatisfactory, the wedding ring.



A bombing empirical stimuli that are unable to process, can not afford that, you can not ask. The approach of character to the world is thus primary. The empiricist approach in principle could provide power to influence reality as capital source, and even as an emanation of ideas, what it does is accentuate the gap between it and Letty, with subsequent isolation as their activities are not projective requested or at least come on circumstantial (dance sequence). The "idea" of things becomes "ideal" to be introduced in a framework where they disappear or minimize the possible actions of interpretation and processing. So

well, that empiricism eventually run into the root Epicureanism. A Epicureanism already announced the concept of "simulacra" (1): mental fixation of the ways that they originated from outside where copies radiated material objects and then reach the human brain. Is the line of Hume, who saw in the "ideas and cognitions, mental images, which were created in the previous perception through the senses", which would end after the interventions and contributions of Locke and Descartes, a new theory (Representative Theory of Perception) whose livelihood would come to be summed up as: "What causes representations received internal have a similarity with the perceived objects without, however, necessarily have the character of real images. " (2)

The" we are what we see, "he would say McLuhan. Fortunately, the true initiation, if it exists, is always achieved outside of empiricism and Letty access the knowledge of things once it recognizes the a priori concepts, in this case, three:

1 and 2 . Evil and death (Roddy), shown in the masterful and terrifying storm sequence as rape and its aftermath raw morning where a floating traveling on the shoulder of a muffled in Letty a shawl, reveals the phallus unsheathed on the table.

3. Lars Love.

It appears then that the necessary synthesis between the empirical and the rational, that is, when Lillian Gish Kant discovers and verifies that the action can prevail and human reactions to a world and a draconian ways. To be critical, ultimately, not only sensory processes but experienced the cognition and language. This implies that the reverse mechanism is empiricist, which runs from the outside in, while it follows an opposite course, where concepts are direct consequences of external reality or sensory experimentation, but exist as separate elements, constituents of reality.


That model to which we referred, based on the excessive gestures, also die and be relaxed Letty factions, now understood. Empiricism, then, is demonstrated as one of the leading causes in this way for the interpretation which has remained as silent film icon:

"silent film characters seem to belong to a humanity missing, for whom emotion was more important that language. A humanity that was incapable of love without gestures and mourn and tightened his hands, gesturing with furious eyes and died with grand gestures, as if trying closing the door of hell. " (3)

Finally, let us dare to recommend a parallel viewing Wind one of the great works of European cinema of the 40's: Le tempestaire , directed by Jean Epstein in 1947 . I mentioned in this article would be full of nuances and interesting discussions. NOTES

(1) This idea will resume after the simulation, in its way, as a postmodern theorist Jean Baudrillard to discourse on the problems of reality in its historical moment.

(2) Graciano, Roque, Nöth, Winfried and Santaella, Lucia Image: Communication, semiotics and media. Reichenberger, Kassel, 2003, pp. 17-8.

(3) Macé, Gérard: Cinéma muet . Saint-Clement, Fata Morgana, 1995, pg. 16. Cited in: Leutrat, Jean-Louis and Liandrat-Guigues, Suzanne: I think cinema . Cátedra, Madrid, 2003, pg. 25.

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article PAINFUL DIVA / DIVA

In some of the previous reviews mentioned Italian film diva word associated with a phenomenon inherited from the nineteenth-century theater which was a genre in itself. To understand just see some title to Francesca Bertini, Lyda Borelli and Pina Menichelli, among others. But they can also be two notable documentaries: The last diva: Francesca Bertini (1982), directed for television by Gianfranco Mingozzi, and Diva Dolorosa (1999), a Dutch documentary directed by Peter Delpeut.

In the first, we have the opportunity to see a nonagenarian Bertini, three years before his death, with ideas and very fresh memory despite her age, going through his films. A highlight of the tape is the private screening of Assunta Spina at the Centro Sperimentale di Cinematografia. And stands in their arrival at the center and its priceless conversation with the head of the file, it complains that still continue to save flammable film, saying that with the amount of bad films that have gone to other formats, does not understand how it did not pass own good. Their resolute character and his knowledge of the film are also shown in the instructions that will give the maker of the documentary that she is "only" player and that is, as he said later, she was aware of all the details of the camera in relation herself.

As the projection begins Assunta Spina is claimed as the film director ("Gustavo Serena was good, but it was only my partner") and is providing technical details and argument about what will appear. It messes with neorealism, claiming all the time she was already using natural light here, the lack of makeup and use of nonprofessional actors. Its intent, which ended not crystallized, using the Neapolitan dialect on signs, little signs, as the detested Bertini (well, at a time that says "Assunta worried," she wonders if he had to that label, "and is is concerned "). Although the phenomenon of hate divas, stresses that this did appear" ugly "and disheveled, for added realism, something that also contributes to natural light and almost no movement of the camera (" then the camera moved very little "), as well as the scenes went out because she never rehearsed, something a bit disconcerting to other players. Surprise at any time to review the dialogue from the film for two reasons: his memory and that these dialogues are not reflected in the titles, but leave the silent lips of the actors, which represents Bertini for a moment the figure of "explainers" of the old cinemas.

The documentary also stripped, or rather points, some aspects of the life of the Bertini, like his encounter with an old Eleanora Duse, after attending a screening of this Fedora ,'s favorite movie Bertini , meeting held in Rome hotel where Duse was withdrawn. It also discusses the reasons of its own withdrawal, tired of having shot many films (one hundred titles) and have made them so fast (and a half months between preparation, filming and editing), justification for adding to their wedding in 1921 Count Paul Cartier and banker. Another detail of his biography, unknown, was staying for ten years in Barcelona, \u200b\u200bwhere he made up to three hundred performances of the theatrical adaptation of La Dame aux Camelias .

The other title, Diva Dolorosa, is not exactly a documentary but rather a collage , superbly fitted to describe only showing the phenomenon of divas and their aspects. It is available as a grouping divas megapelícula scenes from various sources on a same broad themes, without comment, beyond his written introduction and dating of Baudelaire, Wilde and others which leads some of the chapters. From among them the first, by claiming an ideal woman "beautiful and sad", which goes well with the figure of the divas. Concepts are also associated with the "tortured soul" or mysticism and associated so closely with death and extreme feelings. To intermarry scenes from various films reveal storylines and themes, as well as interpretive behaviors common to all of them. Thus, there are many who resort to looking in a mirror as diva peak, as a symbol of duality that sticks in these women, beautiful on the outside, tormented inside. The incidence of light and shadows on them, their presence distinguished environments and the tragic consequences that their love brings in men and themselves, eventually alone.

Two interesting documents not only this issue but also for silent films in general and how to deal with disclosure. As the first route, direct oral testimony of the protagonists it is almost impossible today, the second track of Diva Dolorosa, ie recreation through the assembly of the relationship is a good movie way to approach the constants of the genera and their strengths and weaknesses.

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LAST LADY OF CAMELIAS (1915) Gustavo Serena

the novel by Alexander Dumas, Jr., La Dame aux Camelias , published in 1848, led right from the start of several cinemas in various adaptations. So, first of all directed in 1907 by Viggo Larsen coincides with the first steps of the Nordisk, or directed by Ugo moth in 1909, with Italian cinema. In 1911 Louis Mercatone conducts first French adaptation with starring Sarah Bernhardt, and Albert 1915 Chaplaincy U.S. conducts first two years before the incarnate Theda Bara. Within the German cinema, Erna Morena and Pola Negri respectively assume the role in 1917 (for Paul Leni) and 1920 (to Paul L. Stein). Already in the 20's, the issue serves a duo showcasing star Rudolph Valentino and Alla Nazimova in 1921, and Norma Talmadge , with the help of Fred Niblo (1926). When ten years later, Greta Garbo the stars, directed by George Cukor, the most famous adaptation, the subject is already more than trite. In the talkies, the novel is that new adaptations (especially more recently, for television), although not as frequently or interest which was in the silent movies. Do not forget either that was the basis for the popular opera La Traviata of Verdi, which has also been the subject of a number of adjustments.

The version of the Dumas novel in 1915 led Gustavo Serena is one of the most memorable. Serena also plays and repeats well, with Francesca Bertini, the duo who starred in the hit Assunta Spina. Despite taking a case from the French literature (although certainly universal themes), the film known to take his spot in the field of melodramas of the divas. Disease and sorrows of love are a good actor a starring vehicle for Bertini, who had very little to deploy their gestures of women affected by love and pain. Chronicles the ups and downs of love between Marguerite Gautier and Armand Duval, who tries to remove the dissipated life and filled it carries costs. It also conflicts with other characters of this relationship is derived: the father of Armand attempt to match her daughter with the son of an aristocrat, who has not welcomed the life of scandal that brings the beloved brother of his future child.

As with Assunta Spina, the film is in the stillness of the camera a premeditated action, but in this case there is some lateral movement, very smooth, almost imperceptible that focus or energize certain scenes. It is a film of many interior scenes, with aristocratic salons and environmental reference (one of the main values \u200b\u200bof the tape), although there is some outside by the sea, similar to what occurred in Assunta Spina, Velcro and a clear background blurred. Within every external part of a cottage, you see a beautiful scene in which two characters (Armand and his future brother) talk with a long road back in a car appears, it is about where the couple is talking, ie, approaches the camera and just stops in the desired plane to talk to them. Are quite isolated levels within a very dynamic theater, which closes with an exaggerated gesture of abating Bertini before a sudden death and the corpse away from Armand Duval (Gustavo Serena), so sudden that it even has a point of comical.

Tech Deck Competitions

Prague and sealed by the competent

Back home, and the blog, after a few weeks away, it's time to start thinking about some things about this space from which I could enjoy my vacation, especially for a week that my wife and I spent in Prague.

This city can be disappointing if it is her thinking about the narrow streets of the Golem (the Jewish Quarter are now streets vertebrate Paris a call that starts with a Cartier jewelry) in Prague imagery that extolled the Expressionists (the old town is interesting if you allow it watch the tide of tourists, too, but after all I too was one of them) or, more recently, in an iconography of a city that was under the socialist regime (data: the Museum of Communism is, as indications that the entity provides in its advertising brochure, "behind McDonald's and the Casino) and starred a famous Primavera (Wenceslas Square, the boulevard where he one of the most striking images of the time, today is full of Zaras and other franchises, so the "springs" are now reaching the kind they do in the English Court).

not want to discourage those who want to go because the city is beautiful and even corner stores where tourists are rare, and that's hard in one of the most popular in this regard. There is still the hill (and castle) of Vysehrad, a charming space for its decadence and for hosting a beautiful cemetery (not a paradox) in which spending some time with Dvorak, and Smetana Alphons Mucha, or what's left them. Also, the Vltava and its bridges, its multiple green areas (writing from a city with only one square meter of green area per capita, etc.). etc.

Another attraction that is Prague, and here we enter the field of cinema, is the set of opportunities that have come into contact with activities and items related to the origins of cinema.

1) OPTICAL TOYS

One of the memories that can be brought to Prague a few postcards are playing with stereoscopy, by looking at two images that look similar but with a slight difference in the viewing angle, to be observed each with a different eye, the brain combines them and gives the impression of seeing a single three-dimensional image. These postcards are made up of two photographs, which can be a black and white image of Prague, going back to use old, erotic images, and paper before a viewer-like mask that hides two lenses and is decorated with pictures that remind society of the last years of the nineteenth century.

is not the only illusion. You can also play on the Petrin hill with a mirror maze and a hall of distorting mirrors, similar to that found in some theme parks in our cities. Or stop at one of the windows of the Toy Museum in the city, located within the grounds of the Castle. In this case you can see a charming set a number of gadgets that led in one way or another to the cinema: the magic lantern, a Chinese shadow puppet theater, dioramas, thaumatrope, fenaquistoscopios, zoetrope, Praxinoscope and other gadgets. The museum is sold in some guidebooks as the second largest toy collection in Europe. I do not know if it's true, but at least in this aspect and, of course, in a didactic way of presenting its parts, has nothing to do with the Girona Film Museum and Toy Museum in Figueres, which also have had these days the opportunity to revisit.

Apparently, Prague also hosts a large collection of sealed by the competent in the Technical Museum, but is currently closed to the public.

One of the toys that appear in those collections, here and there, and is present in many of the windows of Prague are

2) PUPPETS:

After the bombing of illusion that awakens to see some of the many windows with puppets that invade the city, one can not help but be tempted to buy one. Although one to walk away with something to get by house ornaments, is a delight to get into one room of a store would, have a clear craftsmanship with high prices and for professionals, to wish them all the love in the world.

In this type of shopping, more specialized, you can better understand the rich tradition that the Czech Republic has had this toy, both in the world of animation (see Trnka, Svankmajer and company) and the theater. On the puppets, combined with shadow play, we talked a long time in sealed by the competent in relation to Indonesia. In Prague, but increasingly for tourists, offer superb performances based with puppets, some pure (only them) and others that include, along with numerous other resources, in full theater. This is the case:

3) THE BLACK THEATRE PRAGUE:

guidebooks recommended as a major night out (dinner is served at 18 h, so this starts soon) of go to a black theater performance, recommendation followed by many tourists, including my wife and me. Keep in mind that your price is almost prohibitive for themselves Prague, so it is somewhat focused on tourists, but still very valid to stay with an idea of \u200b\u200bits essence.

This type of theater is called "black" not because they have something to do with African culture (which does not, in principle), but because it relies on a trick with the black protagonist: in front of the parade spectators a series of sets of lights, people of flesh and blood in the air, cut-out pictures or colorful objects that float and move with apparent complete independence, large puppets that seem to have lost the hand that controls them, all mixed with collages of film overlays curtains games, players either flesh or of the famous Czech animation. And background music, of course. Well, it turns out well in front of us actors appear that move around this world amazing, but completely hidden under a black suit, which I found velvet and allies with the darkness of the room to "disappear."

If anyone is curious, you can view a summary (although there are still quite spectacular lighting effects, obtained with the sum of several matches on) in a video posted on youtube, about the show we attended: Aspects of Alice, in the theater Tá Fantastika:

Meanwhile, following this review by the (pre) film in the relation of image and lies, we again be here, with the silent Italian and other issues that I hope will be of interest.

How Do U Get The Chisel In Poptropica

Assunta Spina (1915) by Gustavo Serena and Francesca Bertini

In 1914 an ephemeral production, the Film Morgana, launched a successful movie, centered on the description of the neighborhoods of Naples and the main spearhead of a current verismo in Italian cinema. His title was Sperduti nel buio (Lost in the Fog) , led by Nino Martoglio. Especially praised in the 30's, during World War II was seized by the Nazis and from there, making cruel honor his title, came to join the list of hit movies is not lost know if forever. For a better idea of \u200b\u200bwhat each other meant that realism has come Neapolitan one of their top performances: Assunta Spina (1915) Gustavo Serena y. .. Francesca Bertini, produced by Film Caesar in Rome.

Gustavo Serena (1881-1970) already know in his role as actor for his role as Romeo in Romeo and Juliet (1912) Ugo moth and, especially, having starred as Petronius, "arbiter of elegance "in Quo Vadis? (1912) by Enrico Guazzoni. His performance career stretches from 1909, with the help of Mario Caserini in Bianca Cappello, until late 1950, with several appearances in film unaccredited sound, as in Rufufú . His career as a director is shorter, concentrated almost entirely in the silent cinema, and has Assunta Spina and Lady of the Camellias , also in 1915, its main titles.

For a long time ignored appropriations Assunta Spina in not recognizing the work of Francesca Bertini in managerial and in writing the script. His long life (1892-1985) allowed him to assert himself as such and give the reasons for this absence. The main one: the concept of woman director was frowned upon and could be a commercial ballast. Many of the ideas were his and other script you were rejected, also for commercial reasons, such as writing signs in Neapolitan dialect. Unlike other "divas" such as Borelli, Bertini was credible both popular characters (the ironing of clothes Assunta Spina) and ladies of high society (the noble character of La Dame aux Camelias ). His career focused on the silent and sound principles until 1930, both in Italy and in France (worked for Marcel L'Herbier). Since then made sporadic film appearances, with high economic demands for those who have adored it for a tribute. One that did it was in his Bertolucci Novecento (1976). This was his farewell as an actress, but not his last appearance on screen, sad honor to be a television documentary, which will be discussed in the following article, entitled The last diva: Francesca Bertini (1982), in which a Bertini octogenarian asks to see a screening in private screening of his Assunta Spina.

The movie has an argument with elements certainly rough: the popular atmosphere in a neighborhood of Naples, she Assunta Spina (Francesca Bertini), who works for ironing, is engaged to Michele (Gustavo Serena). Alerted by an anonymous letter, which notifies you of anyone wanting also Assunta, Michele bursts after birthday party for his beloved, in which it accepted dance with the young Raffaele. Michele, jealous, and brutally beaten in public in the face of Assunta, leading the police to arrest him. Despite efforts to defend Assunta, Michele is sentenced to two years in prison. To avoid being transferred to a prison outside Naples, Assunta just having sex with a prison official, Federico (Carlo Benetti), which just fell in love. The day comes that Michael gets the freedom and this is the beginning of a tragedy. At their reunion, Assunta confesses her love for Frederick and Michele go to kill him. Federico falls stabbed near Assunta, who, to protect her former lover, declares the author of murder.


an argument, it certainly sordid, it could have resulted in the hands of a German filmmaker a few years later in a dark movie, full of long shadows, torn gestures, bizarre dreams and glitter of a dagger. In this case, we face a more sober film, with two distinct aesthetic parts. The first abounds in outdoor environments, both on the streets of Naples and in the solitary walks or accompanied by the sea. The second, more somber, unfolds in indoor spaces and ends with a full technical bid: ten minutes (nearly a quarter of the length of the film) with a fixed camera in a small room in the dark, based on the performance of the actors, an interpretation that sometimes exceeds the likelihood. The latter may seem a contradiction, but the realism was as regards both the translation "verismo" popular environments as an operatic dimension of interpretation. In that small space takes place Assunta conversation with a colleague, the surprise arrival of Michael after his release from prison, the tension between them in crescendo to the confession of love by Federico Assunta, the latter's death with a dagger crossed (After an insert in which Michele Federico chases down a street) and the arrival of the police to stop taking the Assunta. The camera still does not move and a FINE then appear as a banner as part of the room that served as a main stage of the last section of the tape. Some windows allow you to see something outside shading the street, just a blurred figures who pass by. Everything changes with the completion of the tragedy, and the faces of onlookers crammed into the glass. These visuals and the tension of what happens, reminiscent of the statist legacy of the theater space, help to give meaning and effect to this risky bet that closes the film.

It is possible that the filmmakers were aware of the impact of this commitment and this may explain in part the desire of the film reaches that point, causing everything to go very fast in the rest of the tape. It is quite obvious that the movie needed more footage to better explain the evolution of the relationship between the keeper Federico Assunta and more suggested than shown, and scenes like the one that motivates the imprisonment of Michael, attacking Assunta, not very satisfactory. Initial images are beautiful, the sea and the streets of Naples, and create some movie magic, but sometimes stays in the picture and out of tune with the breakneck speed with which events are occurring, as a gesture to the gallery.

With its pros (betting techniques, lighting and Bertini) and cons (some aspects of narrative), this is a film that became legendary and included several new versions: the 1930, directed by Roberto Roberti, starring Rina De Liguoro, that of 1948, Mario Mattioli, Anna Magnani, and a recent television, Riccardo Milani, with Bianca Guaccero as Assunta. No, not even the Magnani, falls short of the Bertini, an actress from which we will talk a lot these next few days.

What Is The Orange(fruit)?

New design / New special: THE SATANIC RHAPSODY

Following a suggestion recent interview in Silent Recanto and other arrivals at my e-mail, whether it was possible to make the blog more readable, we have introduced some changes in their appearance, especially in the background color of the page and type letter. I hope I have pleased them all.

also a result of that interview, there is a new call for a special open to your participation, dedicated to Wind (1928, The Wind ) by Victor Sjöström.

this special I open from now until 11 September. Will be published between September and October, and will a special article on 10 November, to mark the 80th anniversary of the premiere of the film. Interested parties may send their articles (from a text or a small tribute essay), or a drawing or whatever you call voice on the tape, e-mail profile.

Thanks in advance for your participation and suggestions.

Richard Dean Anderson, Weight Gain

WIND (1915) Nino Oxilia

1915 was the year of Assumpta Spina (the film that we will devote our next entry) but also a new starring vehicle for Lyda Borelli, actress exaggerated gestures and passions which already had the pleasure (or not) to know in Ma l'amor mio non muore (1913) under the direction of Mario Caserini. Here goes Oxilia Nino, the name was known Oxilia Angelo Agostino (1889-1917) who cultivated poetry and drama and made forays into film, with an early version of Giovinezza Addio! (1913) and other titles like corpses vivente Il (1913), The monella (1914), Sangue Blu (1914) and the flag nemica Sotto (1915), no success comparable to that achieved Rapsodia Satanica , production of the Cinemas. His career and his life was cut short by World War I, falling dead at the Monte Tomba, during the battle of Caporetto.

Rapsodia Satanica is an adaptation of the eponymous poem by Fausto Maria Martini (which can be read here ), a transposition in the female subject of Faust and the human longing for eternal youth: an old woman longs for his youth and yearns to be like Fausto in front of a table that represents Mephisto. This leaves the table in search of prey, which returns to youth, provided they do not fall in love. The appearance of two brothers in love with her, leading to the tragedy with the death of one of them. In the end, she will go to the call of love and thus to trap Mephisto has prepared him: again old, died and his soul becomes the property of Mephisto.

Despite the attractiveness of its suggestive title and plot, the film pulls over to the fantastic melodrama, a film "diva" seized by the love of devils and supernatural dreams. If it were not for the brilliant final installment, full of visual cues, it would be a movie of the many that were made at the time, associated with old-fashioned values \u200b\u200band theater techniques. So unrequited passion between the young and one of the two brothers, with overacting and gestures a lot of empathy between film removed and spectator. The tape back after the death of one of her suitors and melancholy moments of Borelli, who can then communicate the attitude of a woman with no soul (or rather, with a borrowed soul). The final section, as we have said, it is about to meet our expectations. The girl finally decided to leave his farm, he looks in the mirror (a set of identities in a sophisticated composition because both reflect the image of the woman who looks in the mirror are also reflections of the young woman who is out of plane looking in many mirrors) is covered with a veil that pervades both his figure as to the brightness of the scene, blurring the whole atmosphere spiritually. Go the appointment with a mirage created by Mephisto, represented by a rider who stand on a hill, a shadowy figure just where nothing materialized. Everything is crowned with an embrace with her lover (actually Mephisto) and return to its old appearance after leaving the layer "protector" of Mephisto. The old dies and falls into a pose clearly pictorial, as it had been before the death of one of the two brothers on the stairs of the house of the girl.

Why Are Doctors Against Removing A Fibroid?

THE EXTRAORDINARY ADVENTURES OF SATURNINO Farandola (1914) by Marcel Fabre (and Luigi Maggi)

House. That is the word that best describes all performed and directed this title by Marcel Fabre (who already presented in a previous article, "French-Italian comic" ) and Luigi Maggi, not credited as such, for Ambrose Films. A really cool movie, pure entertainment and are looking for, between parody and homage, a visual and humorous approach to the world of Jules Verne (20,000 Leagues submarine, Five Weeks in a Balloon , Around the world 80 days ) through adaptation of the work Travel Farandola Saturnino special in the 5 or 6 parts of the world and in all countries visited and unvisited by Jules Verne , Albert Robida.

In Oceania, the ship sinks Farandola captain at sea during a storm. Before he died, his wife manages to make your baby safe (our Saturnino, become a sort of Moses), with a note on a small wooden box. Reaches Floating Island of the Apes, where it grows along with the monkeys that inhabit it. Rescued by a crew, just training in the art of navigation. During a diving operation to find pearls, a fellow diver is swallowed by a whale, alive and will reappear later when the whale captured by the eccentric director of the Oceanographic Museum in Melbourne. Saturnino rescues the girl, the first of a series of adventures taking place on land, sea and air. Rescues a white elephant, symbol of the kingdom of Siam, save some women about to be sacrificed on the Nile and, among other adventures (where the woman is almost always save him), comes a final battle in the air , with balloons and stars, certainly the most memorable section of the tape. In the end, the couple comes to the Island of the Apes, where they find their rest and their paradise.

not matter much to most of the tricks look. Even gives the impression that there is an intention in it. The monkeys are clearly men disguised, that the whale is clearly seen as a puppet foam, which the waters of the sea can be seen clearly made from plastic lines ... humorous part of the movie, related, relatively speaking, to parodies of Mel Brooks. Even get the feeling that, by the parody-tribute to the works of Jules Verne, there is another equally clear, that of the trick of Méliès and Second Chomón. Still, there is no doubt that we must congratulate the film for its imagery, especially, we insist, in its final section, a poetic balloon fight, he knows how to lead with his goal of a world traveled. It is noted that there has been significant work in the studio recording the balloon designed by the brothers Montgolfier and almost certainly the whole film was a product of effective storyboards.

Marcel Fabre fulfills its mission of Caricato and is especially hilarious in its characterization of timid wild man, who consider themselves intellectually inferior apes in the first part of the tape. Then he complements with equal or greater comedy, Nilde Baracchi He will also be the antagonist (in the role of Robinette) by Marcel Fabre in his many films as Robinet. Form something like a pair of anti-heroes, in addition to the characters as outlandish as the director of the Oceanographic Museum in Melbourne, whose dress and demeanor reminiscent of a traveling comedian.

A fascinating title, which must be evaluated from the entertainment, with evocations of other worlds and distant future, already in the name of its protagonist: Saturnino (Saturn, and the passion for science fiction Robida) and Farandola (entertainment, street theater.)

Brzydula Odcinki On Line

SOME BOOKS ON THE CINEMA MUDO

On 23 April in the traditional Catalan festival (though on a working day) of Sant Jordi, which is traditional for couples to give away roses and books, or that each will regale himself the advantage of the discount literary novelty 10% on the purchase. Elsewhere also marks the International Day of the Book, since April 23, 1606 Shakespeare and Cervantes died. That day I asked, glancing at one of these developments (the English translation of Kafka Goes to the Movies ), which books on the subject of this blog would recommend the reader beyond the year in which they were published. Here I put the result of this self-survey. Many of these books are more in libraries and book stores, the latter not always affordable.

There are many ways to approach the subject. We can see panoramas of the time, browsing history books "universal" or jumping silent film input into dictionaries, or we can go into detail with any particular story, especially a first-hand the valuable testimony of its star.

For those who prefer the first route, are of interest the history of silent film Robert Paolella, Silent cinema: an Introduction , Paolo Cherchi Usai, Silent Cinema The Reader, edited by Lee Grieveson and Peter Krämer, or The cinema mut (in Catalan) of Palmira González López, without forgetting the specific parts in the stories of Roman Film Gubern, Mark Cousins, David Robinson, René Jeanne / Charles Ford, or the detailed first volumes of the general history of cinema , edited by Chair, along with studies for specific times and Kevin Brownslow David Bordwell (USA), Vittorio Martinelli, Aldo Bernardini, Pierre Leprohon or said Paolo Cherchi Usai (Italy), George Sadoul and Jean Mitry (France), etc.. Mitry, indeed, among his several books on the subject, has a particularly attractive: history of experimental film, which somehow shows the continuity of the achievements of the silent film beyond its time.

However, the history of silent film that is more appealing is Paul Rotha, cinema today, long considered the reference book on the subject. And it is for several reasons. The key is already announced in its title is a book whose first version (later expanded and completed by Richard Griffith cinema since ) is 1930 and, therefore, is talking about first hand, films Not long ago he saw at the cinema. Obviously, in some cases, such as Asquith early can only guess where to evolve his art, but in most cases provides a very accurate picture of how the film progresses, not only from aesthetic aspect but also industrial, a feature that devotes a front-page anthology. It also invests a considerable time to give a tribute to the figure of Carl Mayer, one of the most influential silent film and not always taken into account, with appendices devoted exclusively to it.

Among so-called reference works in the Anglo market include the Encyclopedia of Early Cinema , edited by Richard Abel, but to acquire it will be scratched his pocket, and English, the dictionary / studio of Vicente Romero Jewels of silent film, and the three dictionaries, movie Luis Enrique Ruiz: Works pioneers of silent movies. Origins and first steps (1895-1917), silent film masterpieces. golden age (1918-1930) and Silent film English at movies, not to mention a book heavy editing, but clearly useful The beginnings of cinema. Since the show until 1917 precinematográficos , Jon and Leire Letamendi Ituarte.

About studies too numerous to devote particular time here (and we will do below), but I will mention now some gems in Castilian to be taken into account, both for the movie buff and for those who like to have bibliographic treasures on their shelves and in their hands, all publications of the Film Archive English. One of them is undoubtedly Chinese Proverbs FW Murnau, Luciano Berriatúa. And not only for being the primary source literature in English for the study of Murnau (although we should not forget the exquisite Notes on techniques of film direction of FW Murnau , Berriatúa itself). Are of great interest that gives examples for relations between painting and cinema, or to the movies with esoteric as well as aspects like the music of silent films, the various versions that were shot according to the market to which they were addressed, the process of reconstruction of films or the shows themselves.

Another jewel is not a specific degree, but the series of small works that Carlos Fernández Cuenca wrote for the English Film Library, associated with cycles, especially in the 60 and 70. His monographs on international directors such as Murnau, Clair, Flaherty, Buster Keaton, Eisenstein, Hitchcock (British stage), Dreyer, Pabst, Stroheim, Méliès Dupont, national or Perojo Benito, José Buchs, Fructuós Gelabert or Fernando Delgado, etc., Know how to combine the biographical journey (not without opinion) with a repertoire of very detailed arguments about the films he has been seen in movie theaters what has been a source for the argument of lost films. We must not forget either his studies of Soviet and German films, didactic and brief introductions of these cinemas.

the end I saved the most value is in terms of books about silent film: the personal testimony of those who were its protagonists. Basten four examples: the memoirs of King Vidor, who titled A tree is a tree , especially the early pages that tells how she went to the movies, first as an usher in the rooms (which helped the public know what he wanted) and then on his way injured and no money to drive to Hollywood, those of Cecil B. De Mille, My Ten Commandments, with an attractive way of narrating, which are mixed with details of the shooting aspects of his personal life and his other career, the top dog on the fledgling commercial aviation, the tone memories bittersweet Buster Keaton Slapstick , very agile, since its early performances to his father since childhood to the chapters "I hate writing," and Josef von Sternberg, Fun in a laundry China, written with great vividness and order on the run, the conversation more than chronology.

Halfway between memory and reflection on the history of cinema is located the valuable contributions of René Clair, with Reflections: Notes for the history of film art ), a review of the evolution of cinema since the 20 to 50, and Film yesterday cinema today. The like are two books of Ramón de Baños, one of the great pioneers of English cinema (and Catalan) not so disclosed: Intimate Notes a "cameraman" English: 1906-1970 and a Pioneer of cinema català a l'Amazon latter dedicated to his time in Brazil and their contributions to film there.

We'll have a chance to see these and other books (as theorists have not mentioned here Eisenstein and Pudovkin, for example) in detail in future entries. Take this opportunity to invite whoever wants to write about a particular book to send your review to be published. I hope I have contributed or will contribute in the future a good hour reading about the silent film to all those who come to this blog.