One type of sub-title in Silent Film is the one whose purpose is to feed us exposition. A disembodied narrator we never meet or are introduced to, appearing only sparingly, giving us just enough information so we know where we… Read More »The Disappearing Storyteller
The universe of Silent Film allows for something that may be possible in sound film or in literature, and isn’t something we’re aware of as an audience. It’s a natural part of the narrative landscape and doesn’t come off as… Read More »Able To Shift Perspectives in a Single Bound!
The tag-line above first appeared in 1929, the final year of the silent film era. The idea encouraged busy Americans to pause and enjoy a carbonated beverage. Today we may substitute the act of taking a cleansing breath. In a… Read More »“The Pause That Refreshes”
If there’s one other ubiquitous stereotype people have about silent movies besides heightened or exaggerated gesturing it’s the use of title cards. It’s more true and prevalent than the face-pulling and gesticulating people assume is part of the medium, and… Read More »But First, A Few Words…
It’s possible I’ve taken up the carpet before I took up the tax. I’ve written sixteen posts so far in this daily series I launched into on January 22. I kinda hit the ground running, and have realized I hadn’t… Read More »While We Change Reels…An Opening Statement
This subtle miming-to-support-what’s-being-said or conveyed appears to have gotten itself set and codified by the mid-‘teens. It didn’t change much for the rest of the silent era, aside from being used a little less as needed. This may not have… Read More »I’ll Just Take the Check, Please
There is an aspect of physical performance in Silent Film that lies somewhere between what I’ve been writing about and not doing anything different that you’d do in a sound film. It allows for just enough information to come across… Read More »Just Enough For Us to Decode
The movement and performance styles in silent films evolved during the 1910s and 1920s, becoming less theatrically-rooted and more naturalistic or at least authentic. But enough of what was adapted to a specific performance style, unique to Silent Film, remained… Read More »Drawing on Theatrical Performance
In some early silent films one of the main characters will face the camera or at least what it appears they think is an audience, and will talk through the screen’s fourth wall. Makes me think of that moment in… Read More »Monologuing in Silents
Our performers convey information and emotion to us in their movement, gestures and expressions. They have to. The movement styles and techniques we see in Silent Film range from obvious gesturing that is what some assume is typical of pre-1930s… Read More »Movement in Moving Pictures