In The Othering of Women in Silent Film: Cultural, Historical, and Literary Contexts, Barbara Tepa Lupack explores the rampant racial and gender stereotyping in early cinema and demonstrates how that imagery helped shape American attitudes and practices.

The qualities of great works of art, their profundity, their insight into the human condition, are epitomised in Brakhage's films, which are, I argue, from the beginning related to and inseparable from a philosophical attitude toward existence. His films emerge out of an authentic 'existential' mode of attunement, a mind-set wherein the potential for human transcendence is framed and filmed within its intractable relationship to death, the most extreme possibility of non-existence. Brakhage not only views existence in a philosophical manner, (...) beyond this, he engages in philosophical inquiry in a fundamental way through the medium of film. The films arise from and respond to what Karl Jaspers views as the ultimate source of philosophy, namely, 'the will to authentic communication,' which embraces 'wonder leading to knowledge, doubt leading to certainty, forsakenness leading to the self.' This amounts to the philosophical struggle to arrive at a sense of metaphysical coherence and existential familiarity, i.e., the precarious undertsanding of belonging to the world in communion with others. This essay seeks to elucidate and detail, through a series of interpretive gestures, the philosophical themes present to Brakhage's silent films by way of a reading that emerges from the phenomenological-ontological tradition in philosophy. In doing so, I hope to interpret Brakhage's filmic art as conveying a legitimate source of human understanding, which contributes to our interpreting and discoursing about the world and our lives in new and revelatory ways. (shrink)

This study dissects Chaplin's method of conveying a story through visuals in his 1921 silent movie, 'The Kid,' emphasizing scene analysis and plot introduction. A detailed discussion of sequences allows the research to illustrate how Chaplin makes meaning, creates a narrative, and establishes emotion solely through visual motion without words. The study uses several theoretical approaches, including film semiotics, narrative theory, and visual composition analysis. This paper examines how Chaplin employs framing, editing, mise-en-scène, and physical comedy to construct a (...) highly symbolic and emotionally rich picture. Special emphasis should be placed on how Chaplin uses both comic and dramatic scenes hand in hand, sometimes even in the same scenes. Key sequences analyzed include the opening scene, which efficiently introduces the main character and presents the setting; the separation scene, an emotionally charged sequence of a man being left by his wife; and the dream sequence, a fantastic sequence in which Chaplin breaks the laws of practical reality to develop character psychology and depth of themes. The paper also explores how Chaplin develops visual motifs and employs repeated actions to unify the narrative and chart the character's growth. Moreover, it discusses how the film's visual analysis and symbolism respond to early twentieth-century social concerns such as poverty and the position of children. As such, this research is pertinent to exploring the silent film narrative and its legacy through analyzing Chaplin's visual strategies. 'The Kid' illustrates that this was the pinnacle of the silent film genre and how complex narrative and character development can be conveyed without using words. Moreover, this research reveals Chaplin's creative processes. It contributes to understanding the potential of visual narrative in Cinema, proving the significance of the silent film language in developing film language. (shrink)

From Pier Paolo Pasolini’s Decameron and Canterbury Tales to Monty Python’s televisual riffs on Arthurian legend in the 1970s and role-playing games like Pendragon or Hidden Kingdom, a fascination...

Although Joyce was losing his sight when he wrote Ulysses, Stephen's and Bloom's visual experiences are extraordinarily rich and complex. Absorbing the influences of popular visual attractions such as dioramas, stereoscopes and mutoscopes, their perceptions of Dublin are shaped by what Walter Benjamin calls 'unconscious optics'. Analyzing closely the texture of their impressions and of Joyce's prismatic narrative styles, Philip Sicker explores the phenomenon of sight from a wide-ranging set of perspectives: eighteenth-century epistemology, theories of the flaneur, Italian Futurist art, (...) photography, and the silent films Joyce watched in Dublin and Trieste. The concept of 'spectacle' as a mechanically-constructed visual experience informs Sicker's examination of mediated perception and emerges as a hallmark of modernist culture itself. This study is an important contribution to the growing interest in how deeply the philosophy and science of visual perception influenced modernism. (shrink)

In his ground-breaking series of films The Decalogue , Krzysztof Kieslowski creates an enigmatic character who appears in nine of the ten otherwise-disconnected films. Kieslowski neither names this mysterious man nor allows him one word of dialogue. In several of the films, the man is seen by other characters; in others he remains invisible to them. Sometimes he seems to influence the decisions of the protagonists; other times, he seems to remain a passive observer of their problems. Many scholars who (...) write on The Decalogue either do not note the «silent witness», or limit themselves to peripheral comments of little substance; others comment only briefly, and superficially on his enigmatic presence in one or other of the films. The present article offers a detailed analysis of the «silent witness» in each of the Decalogue films and develops a comprehensive synthesis of his critical moral significance in the series, proposing that the witness is an effective metaphor of the providential presence of the loving God for the protagonists; while respecting their liberty, he moves in their often-troubled lives, guides their moral decisions, gives them hope and brings them to higher levels of freedom and Christian responsibility. (shrink)

The Silent Scream, a videotape which includes footage of a real time sonogram of an abortion in progress, has been receiving considerable attention in America as the anti-abortion movement’s latest argument. The tape has been enthusiastically endorsed by President Reagan and has been distributed to every member of Congress and to each of the Supreme Court justices. It is produced and narrated by Bernard N. Nathanson, a practicing obstetrician and gynecologist, and it includes a number of implicit and explicit (...) claims which are highly controversial. Chief among these are: (1) the claim that since we can draw no morally significant line during the stages of fetal development, the fetusmust be recognized as a person from conception onward, (2) the claim that the film is a high tech, state of the art proof that abortion is the brutal murder of an innocent human being, (3) the claim that in abortion the fetus experiences terror and pain, and (4) the claim that as long as abortion is legal, showing this film (or one relevantly similar) must be made part of the informed consent procedure for abortion. My purpose in this paper is to examine these claims to see if The Silent Scream adds anything to the moral case for making abortion illegal. I give particular attention to two claims which are seldom addressed in the abortion debate, viz., that the fetus experiences terror and pain during an abortion, and that women have not had the information they need (but which this film provides) to give an adequately informed consent to abortion. Since there is so much confusion in the abortion debate, and since this film trades on that confusion, my broader purpose is to add some clarificationto the public discussion of this issue, which is daily becoming a more divisive issue of public policy. (shrink)

In this essay, I review a French-American gem of a movie, The Artist. This movie was an homage to the silent film era and is itself almost all silent. I discuss both the artistic and financial success of silent movies, and I praise this film for successfully interesting modern theater-goers despite its almost total lack of sound. The film won five Academy Awards, including Best Picture, Best Director, and—for its outstanding lead actor, Jean Dujardin—Best Actor. It is (...) the only French-produced movie to win Best Picture, and the only (almost entirely) silent movie to win Best Picture since the start of the Academy Awards in 1929. (shrink)

The article is devoted to the emergence and development of Yakut cinema. The object of the study is the Yakut cinema as a phenomenon of national culture. The first appearance of film installations in the Yakut region at the beginning of the XX century is considered. Attention is drawn to the process of mass cinematography in Soviet times. In parallel, the inclusion of Yakut people in the creative process of participating in the first filming at All-Union film studios in the (...) 1930s is traced. Attention is also drawn to the prominent role of the Yakutkino State Trust, which led the development of Yakut cinema. The author analyzes the reasons for the rapid development of Yakut cinema in the post-Soviet period, related to the appeal to the traditions of the Sakha people, the high level of development of theatrical art in Yakutia, artistic and aesthetic needs and spiritual demands of the audience. The article shows the role of "Sahafilm" in the history of Yakut cinema. The characteristic features of the formation of genres of journalistic cinema, the change of repertoire in the early years of Soviet cinematography and during the Great Patriotic War are revealed. The characteristic features of the post-war reconstruction of the technical equipment and training of personnel of the Yakut cinema are outlined. The genre diversity of films shot during this and subsequent times is shown, when, along with documentaries, feature films also begin to be shot. The development of Yakut cinema is traced against the background of all-Union and all-Russian processes. The formation and development of the main institutions of Yakut cinematography, the growth of the skill of its figures are examined through famous films created by them. For the first time, three stages of the development of Yakut cinema have been identified - from the very beginning to the present day: from "silent cinema" to the birth of the national film industry. (shrink)

The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We (...) now know about many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Stanley Cavell WHAT BECOMES OF THINGS ON FILM? And does this title express a genuine question? That is, does one accept the suggestion that there is a particular relation (or a particular system of relations, awaiting systematic study) that holds between things and their filmed projections, which is to say between the originals now absent from us (by screening) and the new originals now present to us (in photogenesis)—a (...) relation to be thought of as something's becoming something (say as a caterpillar becomes a butterfly, or as a prisoner becomes a count, or as an emotion becomes conscious, or as after a long night it becomes light)? The title is, at any rate, the working formulation I have given myself for the guiding question of this discussion. Of the many issues and many levels of issue raised by the papers I have been invited to comment upon, I have picked two moments at which work of my own about film has been referred to, wishing to contribute to a conversation in the territory of film study. The first moment is one in which I am quoted (or Heidegger and I jointly quoted) as saying that "The cinematic image accentuates the conspicuousness, obtrusiveness and obstinacy of things." I am sorry to have given such an impression. The background of what I said —in the course of giving some examples of how thinking about films and thinking about philosophy have drawn upon one another in my work— was this: early in Being and Time, Heidegger characterizes the specific way in which the phenomenon occurs, in his terms, of the "worldhood of the world announcing itself"; it is a phenomenon in which a particular mode of sight or awareness is brought into play. What brings this mode of sight into play is a disruption of what Heidegger calls the "work-world," a disruption of the matters of course running among our tools, and the occupations they extend, and the environment which supports these occupations. It is upon the disruption of such matters of course (of a tool, say by its breaking; or of someone's occupation, say because of an injury; or of some absence of material) that the mode of sight then brought forth discovers objects in what Heidegger 249 250Philosophy and Literature notes as their conspicuousness, their obtrusiveness, and their obstinacy. Now the foreground of what I said was this: it struck me that this perception or apprehension of the things of our world is part of the grain of silent film comedy; and, more particularly, that Buster Keaton is the silent comic figure whose extraordinary works and whose extraordinary gaze, perhaps the fundamental feature of his character, illuminate and are illuminated by the consequent concept of the worldhood of the world announcing itself. While I take even this bare broaching of this idea to formulate one possibility of cinematic images of the things of our world, it is no more to be expected that all cinematic images carry this force, than it is to be expected that all are in the service of Keaton's species of comedy; any more than the idea of such images exhausts what there is to say about Keaton, orabout Heidegger, or about any further relations between them. What the idea ought to do is to help us to see and say at once what it is Keaton permits us to laugh about and what concretely the nature is of the mode of sight from which Heidegger begins his analysis of Being-in-the-world. This laughter is not defined, for example, by a Bergsonian suggestion that the human being has become machine-like, or vice versa. Keaton is as flexible, as resourceful, as Ulysses, and his giant machines do exactly what they might be expected to do under their circumstances. We have here to do with something about the human capacity for sight, or for sensuous awareness generally, something wë might express as our condemnation to project, to inhabit, a world that goes essentially beyond the delivery of our senses. This seems to be the single point of agreement throughout the history of epistemology, at least throughout the modern history of the... (shrink)

This book forms part of the multi-disciplinary Studies in Ethics Series from Liverpool Hope University. It explores the slipperiness of ethics as a concept and demonstrates the multiplicity of intellectual inquiry within contemporary Film Studies. At first glance, â ~ethicsâ (TM) is not necessarily a subject conventionally associated with film. Film is often regarded as a form of â ~lowbrowâ (TM) popular culture, either offering bland entertainment or deliberately setting out to shock â " or, more cynically, generate box office (...) revenue â " through gratuitous inclusion of sex and violence. Certainly, there have always been a minority of films based on the stereotypically â ~ethicalâ (TM) subject of religion, but these have often generated the most controversy, from the studio system decree that it was blasphemous to represent the corporeal body of Christ to the furore surrounding Martin Scorseseâ (TM)s The Last Temptation of Christ (1988). This book shows that from the silent era to the present day, film has been inherently concerned with ethical issues. In this light, the definition of ethics that informs the volume and is taken as the starting point of each of the chapters is the notion of personal or institutional motivation; most usually because a character or industry figure makes a decision or choice based on their own moral â " or ethical â " code. Once this is defined, the ethical dimension to films is immediately evident. This book takes as its central theme the difficulty of decisions refracted through personal ethical codes, and thus recognises that what counts as ethics, or morality, is always subjective. Some of the chapters explore films which take conventionally â ~goodâ (TM) ethical standpoints, others investigate why â ~badâ (TM) decisions were made; at least one explores the celebration of practices invoking popular disgust, but all the contributions study ethical decisions within film that represent the strongly felt convictions of those involved and, moreover, address aspects of filmmaking which force the spectator to be an active and reciprocal participant in the creation of meaning, thus implicitly acknowledging that ethics are subjective and in perpetual flux rather than fixed, objective truths. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 535 eluded. Have Straussians proved that there is no higher human knowledge than philosophy? One hopes that they will meet their critics, because Stmussians are deeply serious men and women, and we can all learn from their mentor. Hillsdale, College Hillsdale, Michigan D. T. ASSELIN Philosophical Problems of Classical Film Theory. By NOEL CARROLL. Princeton, N.J.: Princeton University Press, 1988. Pp. 268. This book is a provocative, (...) clearly written, and carefully argued presentation of a philosophical critique of traditional film criticism. If film is taken as a serious art form, one which can stand alongside of music, painting, theatre, and literature, then Carroll's book is a good example of the type of philosophical study that is needed. Assistant professor of philosophy at Wesleyan University, Carroll knows the world of film well and attacks with vigor what he takes to be erroneous in traditional film criticism. His three targets are the film theories of Rudolf Arnheim, Andre Bazin, and V. F. Perkins. It would be difficult to overemphasize the influence of Arnheim and Bazin on the history of the aesthetics of film: each man is a giant in the history of theorizing about film. Though much less influential, Perkins does present an mteresting view of film. Philosophical Problems of Classical Film Theory consists of an introduction, three central chapters, and a conclusion. Each of the three chapters is devoted to one of the film theorists, and each chapter begins with an explanation of the theory being discussed. In trying to present the theory in its strongest form, Carroll includes a detailed discussion of its historical setting, and this makes its contextual importance clear. But most of each chapter is devoted to criticism of the theory iii question. Thinking of film theories as a series of answers to abstract questions, Carroll suggests that Arnheim, Bazin, and Perkins address the same central questions and expect the answers to these questions to be related logically in the same way. Carroll lists three questions that he thinks suggest a similar structure in the three theories he is studying: " What is the determinant or special feature of film? What is the value or role of cinema? What are the processes of articulation in film in relation to the previous two answers? " Concerning the answers to these questions Carroll writes 586 BOOK REVIEWS Most classical film theories-including those of Amheim, Bazin, and Perkins-relate answers to the three basic questions in the following way: the determinant characteristic stands to the role of cinema as a means to an end, while the articulatory processes are assessed as instances of the determinant characteristic of cinema (pp. 14-15). Arnheim represents an early type of film theorizing which Carroll names the silent-film paradigm. Those who embrace this approach, and Carroll would include the Soviet montagists of the twenties such as Sergei Eisenstein, insist that film is not merely a record of reality but rather manipulates reality expressively. Though Arnheim wrote after sound had entered film, he disdained talkies and looked back to silent film to discover the paradigm of film. Carroll's treatment of Arnheim relies on the latter's 1957 Film As Art, which is a condensed version of his 1933 book Film. The 1957 condensation can he considered the authoritative articulation of Arnheim's position. The prejudice against cinema in its early days derived from the fact that a major constituent of film was photography. Many felt that photography could not be an art form because it was merely a copying process. Arnheim's theory can be called creationist because he successfully showed how cinema could be creative in capturing and re-presenting reality. Arnheim showed that film transcends the simple viewpoint that simple recording implies. Carroll summarizes Arnheim's view: In summary, Arnheim holds that one role of filmmaking-the one that concerns him-is art. He also contends that the determinant characteristics of the medium-those relevant to the purpose of art makingare the various ways that the medium diverges from the mechanical duplication of reality, and finally, Arnheim spends the bulk of Film As Art on lengthy examinations of the various modes of cinematic articulalation, in order to demonstrate... (shrink)

Philosophers on Film from Bergson to Badiou is an anthology of writings on cinema and film by many of the major thinkers in continental philosophy. The book presents a selection of fundamental texts, each accompanied by an introduction and exposition by the editor, Christopher Kul-Want, that places the philosophers within a historical and intellectual framework of aesthetic and social thought. Encompassing a range of intellectual traditions--Marxism, phenomenology, psychoanalysis, poststructuralism, gender and affect theories--this critical reader features writings by Bergson, Benjamin, Adorno (...) and Horkheimer, Merleau-Ponty, Baudrillard, Irigaray, Lyotard, Deleuze, Kristeva, Agamben, Žižek, Nancy, Cavell, Rancière, Badiou, Stiegler, and Silverman. Many texts discuss cinema as a mass medium; others develop phenomenological analyses of film itself. They reflect upon the potential of film to challenge dominant forms of ideology. The anthology considers the ways in which cinema can disrupt the clichés of capitalist images and offer radical possibilities for creating new worlds of visceral experience outside the grasp of habitual forms of knowledge and subjectivity. Ranging from the early silent period of cinema through the classics of European and Hollywood cinema to the early twenty-first century, the films discussed offer a vivid sense of these philosophers' concepts and ideas, casting new light on the history of cinema. This reader is an essential and valuable resource for a wide range of courses in film and philosophy. (shrink)

The key word in amy account of the different ways that visual details are presented by novels and films is "assert." I wish to communicate by that word the force it has in ordinary rhetoric: an "assertion" is a statement, usually an independent sentence or clause, that something is in fact the case, that it is a certain sort of thing, that it does in fact have certain properties or enter into certain relations, namely, those listed. Opposed to asserting there (...) is mere "naming." When I say, "The cart was tiny; it came onto the bridge," I am asserting that certain property of the cart of being small in size and that certain relation of arriving at the bridge. However, when I say "The green cart came onto the bridge," I am asserting nothing more than its arrival at the bridge; the greenness of the cart is not asserted but slipped in without syntactic fuss. It is only named. Textually, it emerges by the way. Now, most film narratives seem to be of the latter textual order: it requires special effort for films to assert a property or relation. The dominant mode is presentational, not assertive. A film doesn't say, "This is the state of affairs," it merely shows you that state of affairs. Of course, there could be a character or a voice-over commentator asserting a property or relation; but then the film would be using its sound track in much the same way as fiction uses assertive syntax. It is not cinematic description but merely description by literary assertion transferred to film. Filmmakers and critics traditionally show disdain for verbal commentary because it explicates what, they feel, should be implicated visually. So in its essential visual mode, film does not describe at all but merely presents; or better, it depicts, in the original etymological sense of that word: renders in pictorial form. I don't think that this is mere purism or a die-hard adherence to silent films. Film attracts that component of our perceptual apparatus which we tend to favor over the other senses. Seeing, after all, is believing. Seymour Chatman, professor in the department of rhetoric at the University of California, Berkeley, is the author of The Later Style of Henry James and Story and Discourse: Narrative Structure in Fiction and Film. His contribution to Critical Inquiry, "Reply to Barbara Herrnstein Smith" appeared in the Summer 1981 issue. (shrink)

English summary: The silent film of the Weimar Republic grappled with the norms and values of a society, whose elites dismissed it as a cultural product for the masses and the bulk of whose citizens were eager consumers of film. It scrutinized their civil facade and distanced itself with constructive irony and productive skepticism about their traditional (gender-) roles and modes of identity. Its silent message reaches us today like a message in a bottle from a temporary and (...) distant, but psychologically close, shore, and challenges us to translate it into the language of our own present. In the act of this metaphorically understood translation, one discovers the unexpected currency of Weimars silent film as a global form of art, which overcomes language barriers, moves people who possess various cultural horizons, and heals the trauma that lingers from the never finished Tower of Babel. The silent film of the Weimar Republic shines on us from a close remoteness with a beguiling power, which is its own genuine art. German description: Der Stummfilm der Weimarer Republik setzte sich kritisch mit den Normen und Werten einer Gesellschaft auseinander, deren Eliten ihn als Massenkulturprodukt ablehnten und deren Gros ihn gierig verschlang. Er hinterfragte ihre burgerliche Fassade und distanzierte sich mit konstruktiver Ironie und produktiver Skepsis von ihren tradierten (Geschlechter-)Rollen und Identitatsmustern. Seine stumme Botschaft erreicht uns heute wie eine Flaschenpost von einem zeitlich zwar fernen, psychologisch jedoch nahen Ufer, und fordert uns heraus, sie in die Sprache unserer eigenen Gegenwart zu ubersetzen. Im Akt dieser metaphorisch zu verstehenden Ubersetzung entdeckt man die unvermutete Aktualitat des Weimarer Stummfilms als einer globalen Kunstform, die Sprachbarrieren uberwunden, Menschen verschiedenster Kulturhorizonte bewegt und das Trauma des nie vollendeten Turms von Babel geheilt hat. Der Stummfilm der Weimarer Republik leuchtet uns aus naher Zeitferne mit einer betorenden Kraft entgegen, die nur echter Kunst eigen ist. (shrink)

1988, as the TV cycle ‘Decalogue’ was finished by Krzysztof Kieslowski, one of the most intriguing appearances throughout its episodes was the character of the silent witness, a young man played by Arthur Barciś. He is the first character who appears at the beginning of Decalogue I and therefore of the whole series and who returns in eight from the ten films of the cycle in very different hypostases: as nomadic camper, surveyor, nurse, bus driver, or rowboat driver, traveler (...) on foot or by bike etc. The film critics were intrigued by this character and interpreted him in different ways, especially in key either religious or ethical. They all and Kieslowski himself agreed that the silent witness is a strange and symbolic appearance that comes out from the frames of everyday life. It is as if a curtain would break or be torn and from beyond it something foreign and strange would appear, difficult to integrate into our categories, but which is surprisingly so eloquent for us. The phenomenology, that Kieslowski describes, is broken in this manner, but, paradoxically, also consolidated by this presence, that gives it meaning and content. (shrink)

This article investigates the textual strategies with which Maeve Murphy's Silent Grace addresses viewers in contemporary Northern Ireland. Borrowing Eric Santner's concept of `narrative fetishism', the analysis examines how the film's representation of the past obscures the historical realities experienced by female political prisoners in Armagh jail in the late 1970s and early 1980s. From this standpoint, its ethical relation to historical `truth' and responsibilities to its local audience are debated.

This article seeks to explore the early stages of American film theory, wherecinephiliabecame a site of aesthetic interest and criticism thanks to the theorization of cinema as a conversational medium. Following Stanley Cavell’s analysis of a distinct form of moviegoing in America, based on the casual conversation about movies, I argue that a reinterpretation of Emerson’s ordinary aesthetics has been at the core of early film theory, especially in Vachel Lindsay’s writings. In order to illustrate the relation between the defence (...) of a new medium and the attempt to define a quintessentially American art form, this article focuses on the concept of “conversation” that Lindsay uses to describe film spectatorship and to provide a new critical apparatus to grasp the specificity of film aesthetics. (shrink)

This book is about film's encounter with love throughout the medium's history. It is also about the philosophy of love... [it] outlines a new metaphysics and ontology of love as a reciprocal erotic relationship. This study argues that film's special narrative language is particularly well suited to depicting love in this way. It begins with early silent directors, such as Joseph von Sternberg, and concludes with contemporary filmmakers, such as Sophia Coppola; it also compares classical French and American love (...) films of the 1940s with modernist films by Luis Buñuel, François Truffaut, and Wong Kar Wai, amongst many others"--Page [4] of cover. (shrink)

This study explores multimodal metaphors and metonymies in Faust, a German Expressionist silent fiction movie by Murnau. The article combines principles of psychocinematics, an interdisciplinary scientific field of enquiry, with the multimodal metaphor and expressive movement model, which looks into the temporal dynamics of metaphoric meaning-making by movie watchers. It is shown that interrelating both film-analytic approaches provides a deeper and more comprehensive insight into how figurative thought influences psycho-cognitive processes in the moviegoer’s mind as they dynamically unfold in (...) their cinematic contexts. Evidence is provided that Kappelhoff and co-workers’ proposal can be complemented and enriched by psychocinematics findings on the allocation of visual attention and eye fixation, motion and image frame sensing, and mental activity underlying emotional and diagetic experiences. (shrink)

Sogo/Gakuryu Ishii is one of the pioneers of the punk/cyberpunk movement in Japanese cinema. Though his style changed throughout his career, his early films have been a great influence to filmmakers around the world. His unique filmic style presents questions, observations and interpretations regarding the role of violence as normalized in the daily lives of heavily marginalized punk youth portrayed in an amplified and stylized cyberpunk Japan. What is so captivating about Ishii's style and motivation is that he was not (...) only a filmmaker interested in making embellished political or social commentary, Ishii was also part of the emerging punk movement in Japan and several musicians of punk rock bands were also involved in his films. My main aim in my inquiry into Ishil's early films involves two parts regarding the same concept. The first is the ethical issues that arise both with portrayal of violence in films as well as the intention of such an endeavor in general. The second part is the way in which violence is made to be part of the film in terms of form and style. This may be interpreted as either glorifying and stylizing violence or showing that violence is nothing but a destructive force that the outcasts of society may not be able to escape. To the last statement Ishii seems to be silent but very active. What I mean by this is that the simplistic plot-lines of his early films are contrasted by heavy punk music, fast editing, constant moving camera and rage, fear and disappointment in the faces of the anti-heroes. (shrink)

The article investigates the function and signification of doors in two silent films, Ernst Lubitsch's 1916 When I Was Dead and Charlie Chaplin's 1917 The Adventurer. Taking a theoretical perspective provided by the field of intellectual inquiry known as cultural techniques (Kulturtechniken), the door in these films is studied with respect to its procedural and functional operations. Specifically, the article focuses on the ways in which the employment of doors in each of the films relates to these films' configurations (...) of inside and outside as conceptual realms. The analysis presented shows that Lubitsch and Chaplin engage doors in uniquely different ways. It further reveals that, while the operation of the door in When I Was Dead reinforces an exclusive binary of inside and outside, which itself can be traced back to the film's concern with sexual difference, the operation of the door in The Adventurer essentially deconstructs the inside/outside binary, an act that can be linked to a critique of contemporary notions of industrial management and the treatment of humans as machines. (shrink)

One of the urgent tasks facing Christian educators at the present time is how they might encourage the spiritual growth of their students. This paper invites reflection on this central question by discussing the role aesthetics might play with particular focus on its relationship to the ‘spiritual senses’, a theme which has been strikingly absent from recent publications on religion and Christian education. Paying particular attention to the work of the contemporary French phenomenologist, Jean-Louis Chrétien, I shall argue that art (...) invites us to listen to as well as to see the power of beauty. Educators should not ignore this capacity of art to engage the spiritual senses within a contemplative ethos of silence. But I go further than simply pointing to these seminal ideas about Christian formation, by discussing the ‘wound’ that beauty inevitably inflicts. I illustrate this suggestion by referring to Pope Benedict XVI's essay ‘Wounded by the Arrow of the Beautiful’ and to two visualizations of religion: Delacroix's painting Fight between Jacob and the Angel and Beauvois' film Of Gods and Men. (shrink)

Toward the middle of her evocative, deeply personal new book, Ellen Handler-Spitz reflects, “What is the purpose of keeping secrets from children? What are the effects?” Parents, she continues, often seek to protect children from challenging pasts or fearful presents. We often, too, seek to shield children from our own mistakes. “Doubtless,” she avers, “we have performed acts of which we cannot feel proud.” Keeping silent is no good. But how, she asks again, “should we talk about the past?” (...) Professor Handler-Spitz’s provocations raise important, larger questions about how we rear our children. But this is not a handbook of upbringing. It is, instead, something of a guide to the imagination. In this .. (shrink)

Construction of self and group often incorporates the use of objects associated with "expression," including videos, films, and photographs. In this article, I describe four different sites for construction of groups (group portraiture, courtrooms, video-assisted group therapy, and videoconferencing). I discuss potential aspects of shifts in the way we use and talk about media on what it is like to participate in a group. The eras of video, film, and photography as "silent witnesses" to group interaction are gradually passing. (...) For example, technology that enables the digital retouching of photographs has afforded means for enhancing or dramatically altering photographic images. Those who employ these media as epistemological companions, supplementing their vision and memories of various events and interactions, are increasingly doing so from a critical (and somewhat cautious) perspective.. (shrink)

In this thesis, I use a close reading of the silent films of Charlie Chaplin to examine a question of listening posed by Jean-Luc Nancy, “Is listening something of which philosophy is capable” (Nancy 2007:1)? Drawing on the work of Nancy, Jacques Derrida and Gayatri Spivak, I consider a claim that philosophy has failed to address the topic of listening because a logocentric tradition claims speech as primary. In response to Derrida’s deconstruction of logocentrism, Nancy complicates the problem of (...) listening by distinguishing between l’écoute and l’entente. L’écoute is an attending to and answering the demand of the other and l’entente is an understanding directed inward toward a subject. Nancy could deconstruct an undervalued position of l’écoute, making listening essential to speech. I argue, Nancy rather asks what kind of listening philosophy is capable of. To examine this question, I focus on the peculiarly dialogical figure derived from Chaplin that communicates meaning without using speech. This discussion illustrates how Chaplin, in the role of a silent figure, listens to himself (il s’écoute) as other. Chaplin’s listening is Nancean resonance, a movement in which a subject refers back to itself as another subject, in constant motion of spatial and temporal non-presence. For Nancy, listening is a self’s relationship to itself, but without immediate self-presence. Moving in resonance, Chaplin makes the subject as other as he refers back to himself as other. I argue that Chaplin, through silent dialogue with himself by way of the other, makes his listening listened to. Chaplin refused to make his character speak because he believed speech would change the way in which his work would be listened to. In this way, Chaplin makes people laugh by making himself understood (se fait entendre) as he makes himself listened to (se fait écouter). In answer to Nancy’s question, I conclude philosophy is capable of meeting the demand of listening as both l’entente and l’écoute when it listens as Chaplin listens. (shrink)

La transition, puisqu’il n’y eut point de coupure, du cinéma muet au parlant nous permet de retracer le parcours d’une parole filmique en quête de voix depuis ses origines. Cette voix, tantôt regrettée dans les films que Chion nomme « sourds » plutôt que « muets », tantôt rejetée sous le « 100 % parlant », erre encore à la surface de l’écran comme dans un entre-deux, à la recherche de la reconnaissance vis-à-vis de son double, l’image. The transition, as (...) there is not clear rupture, from silent films to the “talkies” allows us to track down the trajectory of film dialogue, which was in search of voice from the very beginning. This voice, which is sometimes missed, as in the cinema that Chion calls “deaf” rather than “silent”, sometimes dismissed, as in the “100% all-talking” cinema, still wanders on the screen as if in an interval, in search of recognition with regard to its double, the moving image. (shrink)

A groundbreaking study of deafness, by a philosopher who combines the scientific erudition of Oliver Sacks with the historical flair of Simon Schama. There is nothing more personal than the human voice, traditionally considered the expression of the innermost self. But what of those who have no voice of their own and cannot hear the voices of others? In this tour de force of historical narrative, Jonathan Ree tells the astonishing story of the deaf, from the sixteenth century to the (...) present. Ree explores the great debates about deafness between those who believed the deaf should be made to speak and those who advocated non-oral communication. He traces the botched attempts to make language visible, through such exotic methods as picture writing, manual spellings, and vocal photography. And he charts the tortuous progress and final recognition of sign systems as natural languages in their own right. I See a Voice escorts us on a vast and eventful intellectual journey,taking in voice machines and musical scales, shorthand and phonetics, Egyptian hieroglyphs, talking parrots, and silent films. A fascinating tale of goodwill subverted by bad science, I See a Voice is as learned and informative as it is delightful to read. (shrink)

This paper considers Baudrillard’s thought in relation to cinema. It begins with a discussion of the way in which Baudrillard’s work typically invokes film and of the consequent paucity of Baudrillardian studies of cinema, making reference to the literature on Blade Runner and The Matrix . It proceeds to excavate a fuller account of Baudrillard’s conception of cinema, drawing, initially, on Baudrillard’s use of the 1926 German silent film, The Student of Prague , in his conclusion to The Consumer (...) Society . At first blush, this leads to a somewhat dismissive assessment of film qua simulation. Having reached the point where the importance of seduction to Baudrillard’s conception of cinema makes itself evident, however, the paper continues to evoke the other side of Baudrillard’s thought, where additional reference to his remarks on photography allows greater purchase on his understanding of cinema. (shrink)

In the present paper, I suggest a modification to some aspects of Ingarden’s analyses of the sound-synchronized filmic work of art. The argument progresses through two stages: I clarify Ingarden’s claim that the work of art is a stratified formation in which the various aspects present objectivities; I elucidate and critically assess Ingarden’s suggestion that the filmic work of art is a borderline case in respect to other types of works of art—paintings and literary works. Here, I identify a problem (...) with Ingarden’s claims about the function of sound in the concretized filmic work’s presentation of its fictive world. Ingarden identifies the presented universe of the filmic work of art as a habitus of reality, but Ingarden seems oddly conflicted with respect to his notion of habitus. I argue that this stems from Ingarden’s conceptualization of the filmic work of art as primarily composed of the stratum of represented “visible aspects” in both the cases of the silent film and the sound-synchronized film, and his restriction of the role of phonetic content in the latter. I suggest that were we to reconceptualise the role of aurally presented phonetic content in the concretized sound-synchronized film, we could better understand how film has the seeming magical capacity to transfix us. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Radical Change Theory and Synergistic Reading for Digital Age YouthEliza T. Dresang (bio) and Bowie Kotrla (bio)Books with digital age characteristics... stimulate curiosity and foster community.—Elizabeth Lennox Keyser, 1999Today’s students think and process information fundamentally differently from their predecessors.—Marc Prensky, 2001PrologueOne of our favorite books is McGillis’s The Nimble Reader: Literary Criticism and Children’s Literature.1 McGillis applies various literary theories—among them the New Criticism, structuralism, feminism, and postmodernism—to much-loved, (...) time-honored books such as E. B. White’s Charlotte’s Web (1952), in each case coming up with a fresh interpretation of a well-known text. The Nimble Reader makes the point that the meaning of any object, experience, or creative endeavor can be evasive and changes according to the lens through which it is viewed. Theory uncovers, illuminates, reveals, explains, predicts, and adds value and dimensions to what otherwise might have been overlooked. [End Page 92]That is what we hope Radical Change Theory does—we hope that it stimulates thinking, brings new perspectives, and adds value to what is already recognized as an immense treasure: the body of children’s literature and the young (and old) readers who love and appreciate it. As an addition to the assortment of approaches McGillis covered, we anticipate that Radical Change Theory is a way to see the mosaic of contemporary children’s literature in a new light, to examine and explain some parts of it that may have gone unnoticed. We offer it as a way to think about contemporary youth in relation to their literature, and we suggest applying Radical Change Theory in retrospect in order to highlight and appreciate “radical” authors and illustrators of the past who wrote for “radical readers” in their times. Radical Change Theory is only one perspective among many, and we realize that the phenomena it addresses could be explained or augmented in other ways, as McGillis demonstrated.IntroductionThe 2008 Caldecott Award for the most outstanding picture book for children published in the United States in the previous year was presented to Brian Selznick, author and illustrator of The Invention of Hugo Cabret, which is hundreds of pages longer than an ordinary picture book.2 Approximately 300 of its 533 pages are wordless black and white sketches that tell the story—not illustrating the text but replacing it. Hugo Cabret is a twelve-year-old boy living in the walls of a Paris train station in 1931; he becomes involved in a mystery adventure with the pioneer silent film maker George Méliès, a fitting element for a largely visual book. Selznick notes that he thinks of the book as somewhere between a graphic novel, a picture book, and a film.3 Each sequence of drawings can itself become a miniature silent move if the reader employs a flipbook technique. Hugo Cabret offers a highly interactive reading experience with vivid visual appeal, intertextuality, and multiple layers of meaning. It also provides a dramatic departure from the typical picture-book tradition and joins a number of other radically changed books that have special appeal for digital age youth.While it was perfectly clear to almost everyone during the 1990s that technology was changing, almost no one acknowledged the concomitant change in a sizeable and growing cadre of handheld books for youth. Some of those who did notice expressed puzzlement and regret at the break from a more traditional form and format; others expressed curiosity. Some others sought explanations.4 One purpose of this essay is to provide one explanation for the nature and character of these “changed” books and to demonstrate that they are somewhat different from but firmly rooted in more traditional children’s literature.But not only are books changing—at least some young readers are as well. In the 1990s, as youth who were born in the late 1970s began to mature, [End Page 93] we, along with some other educators and scholars, noted what seemed to be a change from previous generations in how many youth approached thinking, learning, creating, and engaging with media, including reading handheld books. Various terms, including the net generation, digital natives... (shrink)

The writings of Ernst Bloch represent one of the lasting linguistic and intellectual achievements of expressionism. What distinguishes Bloch from other expressionists is that he lived long enough to form the impulses of the expressionist break-through into an oeuvre that grew in depth and mastery across half a century. This collection, which dates from 1913 to 1964, represents a field of experiment in which a thinker of astonishing originality exposes his own thought to the provocation of literary, musical, and artistic (...) works, but also to such quasi-artistic phenomena as advertisements, landscapes, cliche;s and obsessive images, films, and forms of interaction in country and city: why does water emerging from a spring so fascinate the human imagination? What is the function of musical accompaniment in a silent film? How does a writer's birthplace imprint itself on his intellect? (shrink)

In 1936 Samuel Beckett wrote a letter to Sergei Eisenstein - the legendary director of such films as Battleship Potemkin - expressing his own desire to work in the lost tradition of silent film. Drawing on substantial archival material, this is the first book to examine comprehensively the full extent of Beckett's engagement with cinema and its influence on his work for stage and screen. Examining his writing on second wave modernist cinema, including the work of directors such as (...) Eisenstein, Godard, Griffith and Bresson as well as performers such as Buster Keaton, Charlie Chaplin and Greta Garbo, the book reveals film art to be central to Beckett's modernist aesthetic. In this way, Beckett is revealed to be part of a wider modernist theatrical tradition that stood as an inheritor of early 20th century cinema, alongside Meyerhold, Brecht and Artaud. (shrink)

In this article I argue that basic characteristics of the medium of cinema formed during the relatively brief era of silent movies continued to characterize film throughout the 20th century. Despite the development of talkies in the 1920s, sound was never truly integrated into the composition of cinema in the sense implied by the term `audiovisual'. This is a reflection not only of technological constraints but also of a fundamental ideological orientation that prohibited the direct representation of the voice. (...) This `prohibition' of the voice is not a phenomenon confined entirely to cinema. Through a critique of the debate begun by Godard and Lanzmann on representation of the Auschwitz gas chambers in film, I consider how the issue of the `unrepresentable' must be extended beyond the issue of visual representation so as to also include the matter of representation in sound. It is only now that we have entered the 21st century that the `visibility' of this larger issue of representation is presented to us. (shrink)

Książka Piotra Skrzypczaka jest bez wątpienia najpoważniejszą pracą poświęconą aktorstwu filmowemu, jaka do tej pory powstała w Polsce, i jak na taką skalę książką jedyną. Cóż bowiem opisywać: aktora, artystę, gwiazdę, człowieka uwikłanego w przemysł kinematograficzny, role itd.? Potencjalna wielość wyborów stanowi w gruncie rzeczy kłopot metodologiczny. Przyjęcie przez autora konstruktu teoretycznego, jakim jest fundamentalna dla książki kategoria „postaci ekranowej", i konsekwentne stosowanie go we wszystkich rozdziałach pozwala zachować dyscyplinę dyskursu. Piotr Zmerzchowski Autor pedantycznie i cierpliwie rozświetla i rozsupłuje sekrety (...) i paradoksy alchemicznej transformacji aktora w bohatera filmowego. Za pomocą instrumentarium antropologii, semiotyki i kognitywizmu metodycznie opisuje procesy aktorskiej kreacji, skrupulatnie precyzując pojęciowe statusy kondycji aktora, roli i postaci ekranowej. Tadeusz Szczepański. (shrink)

Die Schrift ist im Film nicht nur durch Schriftobjekte (z. B. Briefe, Leuchtreklamen, Zeitungen) präsent, die der Diegese angehören. In Vor- und Abspann oder Zwischentitel hat sie vor allem im Stummfilm, aber auch in der Ära des Tonfilms ihren eigenen Raum. Von dort dringt sie bisweilen in den physikalischen Raum des Films ein, mitunter erscheint der Raum des Vorspanns etc. als 〉wirklicher〈 Raum. Interessant sind jene Fälle, in denen Buchstaben und Wörter ihrerseits den Gesetzen des physikalischen Raums, Bewegung und Schwerkraft (...) unterworfen zu sein scheinen. Dies führt zu Interferenzen und Paradoxien zwischen zwei inkompatiblen Logiken. Writing is not only present in film through objects that belong to the diegesis (e.g. letters, neon signs, newspapers). In opening and closing credits as well as in intertitles, writing claims its own space – especially in silent movies, but also in the era of talkies. From there, it sometimes penetrates into the physical space of the film; at times the space of the opening credits appears as 〉real〈 space. Especially interesting are those cases in which letters and words seem to be themselves subjected to the laws of physical space, motion and gravity. This leads to interferences and paradoxes between two incompatible logics. (shrink)

This essay analyzes a silent short film portraying an urban canoeist. The film suggests that it is possible to make conscious choices about one’s means of conveyance through the city. Using a critical theoretical framework to unpack the implications of the film, this paper argues for the need to imagine unconventional modes of transportation and examine the power structures of automotive hegemony.

This essay analyzes a silent short film portraying an urban canoeist. The film suggests that it is possible to make conscious choices about one’s means of conveyance through the city. Using a critical theoretical framework to unpack the implications of the film, this paper argues for the need to imagine unconventional modes of transportation and examine the power structures of automotive hegemony.