Most silent era films

Silent Era

Student’s Name

Affiliation

Most silent era films have lost footage from the public view and are neglected in the archives and in various private collections. Those that are available are too remote in their cinematic performance to engage modern audiences. This is because the modern films have advanced into digital and are more preferred to the silent film (Nicolas Gaudreault, & Santiago, 2012).

Preservation and lost films

The early activity pictures are lost due to the nitrate film that was used during era was exceedingly flammable and unstable. Moreover, many films were intentionally destroyed since they had less value before home video in the era. Others had no numerical data. Major silent films alleged lost included Titanic 1912 which showed survivors of the disaster and others. The old filming can be upgraded by proper archiving through transfer to the digital media for preservation. Currently Silent film preservation is a priority to the film historians (O’Regan, 1996).

The visual silent cinemas of the 1920 era were high, but there exist a misunderstanding that the movies were hardly watchable by contemporary principles. This misunderstanding resulted from movies that are played back at erroneous speed and their worsened condition. Most collected silent films only exist as a second or third copy that have been copied from already spoiled and abandoned films stock. Moreover, most prints suffer from editing cuts and missing scenes and frames, resulting to poor editing. With new technologies, the silent films are viewed to be boring and old fashioned. They involve ages and historic events that are viewed to be out dated.

Inter title

Motion picture increased and there was a need for an interpreter who would explain the actions and motions in the film. On screen inter titles were used to comment, narrate and explain a story to the audience since the silent films had no sound coordination for dialogue. The title writer was a major professional in silent cinemas and was different from the scenario writer who made the story. Titles became the graphic element featuring pictures that commented on the acts.

In modern film inter titles is used but only to translated an anonymous language into a national language that people can understand. It has even advanced for the impaired people that the films include an expert in sign language to explain events.

Live sound and music

Most silent films featured live music beginning with a pianist at the public outcrop of movies. Music was seen to be vital, casual to the atmosphere and providing the audience essential emotional sign. Big theaters had organist and a larger orchestra in place of pianist. Silent films music was gathered from photoplay music by the organist, pianist, and orchestra conductor as well as incorporated a cue sheet with the movie. There was a time when silent era movies were the only source of employment for instrumental musician. Enlargement of the range of film camera schemes must eventually give an appointment of the frame in relation to the imaginative control of the perforations and the visual soundtrack area.

In 1960s-1970s significance in the scoring of silent films became out fashioned. Most college film programs believed that audiences ought to understanding silent film as a pure illustration medium, undistracted by music (Edmondson & Pike, 1982). This believes had been brought about by the poor quality of music tracks found in most silent film reprints of the era. Recently there has been a restoration of interest in presenting silent films with better musical scores, either redoing of period scores or composition of suitable original scores.

A silent film has no coordinated substantial sound particularly without oral dialogue. Dialogue is transmitted through mime, gestures and little cards in the silent film. The plan of joining recorded sound and motioned pictures is almost as old as the cinema itself, however since the practical challenges implicated, coordinated dialogue was only made technical in the late 1920’s with the introduction of Vita phone coordination and the accomplishment of the Audio amplifier tube (Edmondson & Pike, 1982).

In modern technology music in films rhymes with the movies and explains what the movie is intended for. There are special instrument that have been innovated for the best production of background music. The music players and their instruments are not seen since they are at the back of the scenes. Sounds are modified and equalized to give the best sounds.

Acting Techniques

Silent film actors stressed on facial expressions and body language for better understanding from the audience on what the actor was portraying and feeling on screen. Most silent film acting is appropriate to beat modern-day audiences as simplistic. The histrionic acting style was a routine actors relocated from their initial period experience. Silent era period was 1877-1920 where two films were created by Eadweard Muybridge and Louis Le Prince. The art activity pictures developed into full maturity in the silent era previously silent films were substituted by talking pictures in late 1920’s. Most buffs and scholars argue that the artistic quality of films reduced for many years until actors, directors and the production staff adjusted to the new talkies (Oever, & van den, 2010).

Early studios

During silent eras there were few studios for movie making. After 1985, the demand for more and big studios rose and more studios were formed. In 1908, Edison brought about the formation of the Motion Picture Patents Company in the attempt to manage the production and shut out for smaller producers. The General film Co. and the motion picture patents Co. were found accountable of antitrust violation in 1915, however they resolved the matter. In Modern time studios are all over the world with numerous techniques of performance. They also have divisions depending on the professions for instance a studio for films and movies, a studio for music creations, a studio for news anchoring and much more (Edmondson & Pike, 1982).

Projection speed

Silent films were lacking speed frame rates until consistency of projection speed of 24 frames for sounds in 1926-1930 which depended on the studio. During the era 16frames per second was considered correct but modernly it is viewed to be n erroneous value for the frames speed. The silent films can be cranked to be slow or fast. Some were even under cranked when shooting to accelerate actions. Cellulose Nitrate projections of film brought a risk of fire when exposed to projection lamp for a longer time.

Normally projectionists established common directions from the distributors on the musical director’s cue sheet as to how fast scenes should be projected. In few cases, generally for larger productions, cue sheets particularly for the projectionist gave a comprehensive direction to presenting the film. For Theaters to maximize profit they sometimes diverse projection speeds regarding on the time of status of a film, and to fit a film into an approved period.

In modern times, Technology has advanced and there are projectors that can be used indoors and outdoors. They are made in different sizes depending on the audience to be covered and the function (Goldsmith & Lea land, 2010).

Visual

Comparing two different aspects brings some details of comparing, images with equal width, equal height, equal diagonal, or equal area. This includes the wide full length, and tallness at the same time closeness In silent Eras, the display units used were not visible and worse when it came to width and height. When the display was short the display was invisible and therefore not many people could view it unless it is broadened. This did not bring about any profit .How ever in modern Films people use LCDs and plasmas for display, cameras, projectors and other optical devices. For diagonal the shorter and the wider yields are the same therefore is more profitable since it is balanced.

Reference

Nicolas Gaudreault, D., & Santiago, A. H. (2012).Companion to Early Cinema. (p. 647). Hoboken, NJ, USA: Wiley-Blackwell DOI: ISBN 9781444332315

O’Regan, T. (1996). Australian National Cinema / Tom O’Regan. (pp. 365-375). London; New York: Routledge. DOI: 0415057302 0415057310 (pbk.)

Oever, , & van den , A. (2010). Cinema Beyond Film: Media Epistemology in the Modern Era. (p. 277). Amsterdam, NLD: Amsterdam University Press DOI: ISBN 9789089640833

Edmondson, R., & Pike, A. (1982). Australia’s lost films: The: Loss and Rescue of Australia’s Silent Cinemas. Australia: National Library of Australia.

Goldsmith, B. E., & Lea land, G. (2010). Directory of World Cinema Australia & New Zealand. (Vol. 3). Chicago, USA: t he University of Chicago Press,. Retrieved from http://www.intellectbooks.co.uk/MediaManager/File/Australia Directory eBook.pdf