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.
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. 
