2011's The Artist: The Nature Of Silent Film

In 1920, Oscar Micheaux directed the silent film Within Our Gates which conducts an in-depth examination of race relations and discrimination within the United States. One of the outcomes of the film is a blatant failure of justice resulting in the lynching of an African American couple, The Landrys. Seemingly, time has not altered the inherent absence of justice concerning the treatment of Black men and women in situations where criminal activity is suspected, legitimately or otherwise. Evidence is found with the killings of Eric Garner, Michael Brown, Tamir Rice, and many other Black victims who died at the hands of police who are tasked with upholding justice and fail to do so. However, what was the popular sentiment toward failure within the legal system between 1920 and 2015? While not representative of this entire time span, in 1962, Robert Mulligan’s film To Kill a Mockingbird focuses on race relations and an African American male wrongly accused of rape who is ultimately killed in a suspicious police shooting. Within Our Gates and To Kill a Mockingbird each offer a presentation of a gross miscarriage of justice that is obvious to the omniscient viewer, but the reaction the films garner from the audience varies from outrage to resignation due to the implementation (or lack thereof) of a visual stimuli, telling of the time period in which the films were produced.

During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that,

Film has revolutionized the world as we know it. In the current day and age film is quite advanced. You can watch movies with special effects and insane resolution there were never thought possible before. But film has not always been this way. Over the decades since around the 1900s when the first film was made there been amazing advances in technology and in acting. An examination of the past hundred or so years will show the amazing advances film has taken to come to what we know of it today.

In “A Century of Cinema”, Susan Sontag explains how cinema was cherished by those who enjoyed what cinema offered. Cinema was unlike anything else, it was entertainment that had the audience feeling apart of the film. However, as the years went by, the special feeling regarding cinema went away as those who admired cinema wanted to help expand the experience.

David Bordwell wrote his article ‘The Art Cinema as a Mode of Film’ in an effort to convey the main idea that “art cinema” can be considered as a distinct mode of film practice, through its definite historical existence alongside other cinematic modes, set of formal conventions, and implicit viewing procedures. Rather than searching for the source of the art, or what drives the art in film, Bordwell compares art cinema to the classical narrative cinema, and highlights the differences in narrative structure. Bordwell makes the assumption that it defined itself against the classical narrative mode; especially with the way it deals with space, time, and the cause and effect link of events.

New and exciting technologies have always played a huge role in the culture of American people. When the motion picture came out it was no surprise that both consumers and producers were more than happy to get in on the action. Back in the 1920’s film was still pretty new and was only in black and white with no sound, but the films were always accompanied by orchestral pieces to help set the mood. The art of movie-making has come a long way since then with the addition of not only color and audio, but new techniques and new ideas. Both The Kid and Iron Jawed Angels are very popular films about the early 1900’s. Although they share some common thoughts, but because they were made in two completely different time periods their focuses are

This essay will analyse and discuss The Great Train Robbery (1903) in relation to the narrative structure of silent cinema. The Edison Manufacturing Co, with the estimated budget of $150, produced The Great Train Robbery. Directed by Edwin S. Porter the film has a runtime of 11 minutes, with an aspect ratio of 1:33:1. The film was printed on 35mm hand coloured film and ran at 18 (FPS). The film was later released on December 1st 1903; the majority of the film was shot in New Jersey, USA.

When silent movies were beginning to be replaced by movies with sound, or ‘Talkies’, controversy began to surround Hollywood and it stars. Between Fatty Arbuckle hitting an actress at a party

Being one of the world’s most popular art forms, it was inevitable that these archetypes would find their way into film as well. In this essay I will argue that the

“The most exciting moment is the moment when I add the sound… At this moment, I tremble.” (Akira Kurosawa) Sound is arguably the most important concept in cinema studies, being there ever since the beginnings. It can radically change the way a motion picture is looked at and it can render what the director may sometimes find hard to depict using only his camera. Looking upon silent cinema one discovers an era which wasn’t at all silent, but rich in sound of different forms, from the simple narration of the images shown on screen, accompanied by a piano, to the complex score later composed specifically for that film. An example of that complex score is shown in Sunrise, a film by F.W. Murnau, which lies at the border between silent cinema and sound cinema. Considered to be one of the first films with an actual score, Sunrise is a great example of the multitude of dimensions and effects sound can have.

Another aspect of sound in this film was how it affected the story. By using sound dramatically in certain parts and not using it at all in other parts, sound gave this story an entity of its own. For example, during long stretches of film with mostly dialogue, there was no music played in the background, only a phone ringing in the distance, or the men's voices during their deliberation. These long silences also took place during editing shots of the town and images that surrounded this German city. This dramatic difference in sound was a revelation of how mood can be made by images and sound put together to make an incredible component.

The first film that showed early signs of a rise in the quality of technology was the Western “The Great Train Robbery.” When this film first came out the audience were so amazed at the fact that they could watch something on a TV or at the cinema. Although this film was very good for the 1900s it still lacked some key features that make films much easier to understand such as dialogue, sound and camera shots. The one feature of a film that developed the quickest over the period of time was sound. Sound was introduced in October 1927 in the film “The Jazz singer”, which had three song numbers and a few lines of spoken dialogue. Apart from these few songs and words, the rest of the movie was silent, but the audience still thought that it was amazing that words had been spoken in the film, they used to call it “the movie that talked”.

This essay will analyse and discuss The Great Train Robbery (1903) in relation to the narrative structure of silent cinema. The Edison Manufacturing Co, with the estimated budget of $150, produced The Great Train Robbery. Directed by Edwin S. Porter the film has a runtime of 11 minutes, with an aspect ratio of 1:33:1. The film was printed on 35mm hand coloured film and ran at 18 (FPS). The film was later released on December 1st 1903; the majority of the film was shot in New Jersey, USA.

The introduction of sound films in the late 1920’s was a divisive issue among those involved and interested in the emerging motion picture industry. Even though it wasn’t the sudden breakthrough it is often perceived to be, the addition of sound and voice to mainstream cinema revolutionized movie making and led to conflicting viewpoints as to whether or not this innovation was a positive progression for film as an art and as an industry.

The release of Gordon Hollingshead and Alan Crosland’s The Jazz Singer in 1927 marked the new age of synchronised sound in cinema. The feature film was a huge success at the box office and it ushered in the era David Bordwell describes as ‘Classical Hollywood Cinema’; Bordwell and two other film theorists (Janet Staiger and Kristin Thompson) conducted a formalist analysis of 100 randomly selected Hollywood films from the years 1917 to 1960 in order to fully define this movement. Their results yielded that most Hollywood made films during that era were centred on, or followed, specific blueprints that formed the finished product. Through this analysis of Hollywood films the theorists were able to establish stylised conventions and modes of