Why is DR. MABUSE such a forward-looking piece of modern cinema?
Artists working on either side of the digital divide explore the lyrical allure of the ‘actuality’ film.
We don’t get it, so let’s forget it? Of all the misconceptions of silent-era cinema that linger, the idea that the films were solely black and white may be the hardest to correct.
Muybridge’s persistent spirit wrestled with a basic limitation in photography, finally uncovering a revolutionary new way of bringing images together to create something quite magical.
Pickford was not the result of a star system, she was its genesis.
Few have ever matched the style of the teenage scenarist who literally set the tone of movie dialogue.
San Francisco’s Silent Film Festival presents a SNOW WHITE that struck Disney‘s fancy, a trio of Buster Keaton shorts, a Douglas Fairbanks blockbuster, Mary Pickford’s last silent and F.W. Murnau‘s FAUST. Updated through 2/24.
Celebrated as one of the century’s great renaissance men, director D.W. Griffith invented a film grammar that lives on today.
As the industry’s focus shifted from cameraman to director, Porter defined the ideal of a master craftsman for such silent-era directors as D.W. Griffith and King Vidor.
Keaton established himself as an icon—the unwitting simpleton overrun by the modern mechanized world—repeatedly using his physical dexterity to overcome intractable machines.
By developing a single-unit device that was portable, the Lumières were able to document the outside world in moving pictures.
Sennett comedies developed a distinct style: devoid of logic, full of anarchy, completely over the top.