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L’esthétique du cinéma muet américain des années 1910-1920 révèle non seulement une fonctionnalité mais également une intelligence des formes filmiques. Les assemblages non conventionnels laissent place à une reprise inventive des formes en usage: cut-backs, flashes, enchaînés, surimpressions. Si les films étudiés dans cet ouvrage partagent l’ambition de créer un cinéma d’idées, ils n’abandonnent cependant jamais les modes propres de la cinématographie hollywoodienne de l’époque : l’action et le spectacle. Comment composer alors ces trois éléments, l’idée, l’action et le spectacle, dans une harmonie de formes et contenus ?
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"The historiography of silent cinema has long been the leading edge of scholarly innovation in film history. The Oxford Handbook of Silent Cinema brings that scholarship up to date with thirty-four chapters informed by new perspectives in film and media studies and the humanities. Featuring contributions by both established and up-and-coming scholars, the volume is arranged around a series of broad topics: the "invention" of cinema as both technology and medium; the intermedial development of film aesthetics and genres; non-theatrical and non-commercial uses of cinema; the political economy of Hollywood mass culture; film and global modernities; and silent cinema's publics and counter-publics. Unlike other anthologies of this nature, The Oxford Handbook of Silent Cinema is more than just a collection of disparate new work. Taken as a whole, the essays gathered here signal an impulse to rethink silent film history, narrowly conceived, as instead a form of transmedial history attuned to the relations amongst media forms and technologies, artistic traditions and practices, and economic and governmental institutions. The volume takes stock of what the history of silent cinema has been, but it also introduces agendas intended to shape new work for the future"--
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Film --- silent films --- filmgeschiedenis
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