Неми филм

Сцена из филма Четири јахача апокалипсе из 1921. године.

Charlie Chaplin, widely acclaimed as one of the most iconic actors of the silent era, око 1919

Неми филм у најширем смислу означава сваки филмски снимак који у себи не садржи тонски запис. Јавно извођење ових филмова било је готово увек праћено музиком. Неми филм је настао крајем 19. века у западној Европи и САД. Технологија снимања и репродукције звука је постојала пре настанка првих немих филмова, али све до 1920-их година нису постојале прикладне методе синхронизације визуелног и звучног записа на филмској траци. Стога су, уз поједине експерименталне изузетке, сви дотада снимљени филмови по правилу били неми. То раздобље било је познато као ера немог филма и завршена је 1927. године када је произведен и приказан, први комерцијално дистрибуирани звучни филм, Џез певач.

The term silent film is a retronym—a term created to retroactively distinguish something from later developments. Early sound films, starting with The Jazz Singer in 1927, were variously referred to as the "talkies", "sound films", or "talking pictures". The idea of combining motion pictures with recorded sound is older than film (it was suggested almost immediately after Edison introduced the phonograph in 1877), and some early experiments had the projectionist manually adjusting the frame rate to fit the sound, but because of the technical challenges involved, the introduction of synchronized dialogue became practical only in the late 1920s with the perfection of the Audion amplifier tube and the advent of the Vitaphone system. Within a decade, the widespread production of silent films for popular entertainment had ceased, and the industry had moved fully into the sound era, in which movies were accompanied by synchronized sound recordings of spoken dialogue, music and sound effects.

Most early motion pictures are considered lost because the nitrate film used in that era was extremely unstable and flammable. Additionally, many films were deliberately destroyed because they had negligible continuing financial value in this era. It has often been claimed that around 75 percent of silent films produced in the US have been lost, though these estimates may be inaccurate due to a lack of numerical data.

Ера немог филма

PLAY: A one-minute 1904 film by Edison Studios re-enacting the Battle of Chemulpo Bay, which occurred on 9 February that year off the coast of present-day Incheon, Korea.

The work of Muybridge, Marey, and Le Prince laid the foundation for future development of motion picture cameras, projectors and transparent celluloid film, which lead to the development of cinema as we know it today. American inventor George Eastman, who had first manufactured photographic dry plates in 1878, made headway on a stable type of celluloid film in 1888.

The art of motion pictures grew into full maturity in the "silent era" (1894 in film – 1929 in film). The height of the silent era (from the early 1910s in film to the late 1920s) was a particularly fruitful period, full of artistic innovation. The film movements of Classical Hollywood as well as French Impressionism, German Expressionism, and Soviet Montage began in this period. Silent filmmakers pioneered the art form to the extent that virtually every style and genre of film-making of the 20th and 21st centuries has its artistic roots in the silent era. The silent era was also a pioneering one from a technical point of view. Three-point lighting, the close-up, long shot, panning, and continuity editing all became prevalent long before silent films were replaced by "talking pictures" or "talkies" in the late 1920s. Some scholars claim that the artistic quality of cinema decreased for several years, during the early 1930s, until film directors, actors, and production staff adapted fully to the new "talkies" around the mid 1930s.

The visual quality of silent movies—especially those produced in the 1920s—was often high, but there remains a widely held misconception that these films were primitive, or are barely watchable by modern standards. This misconception comes from the general public's unfamiliarity with the medium, as well as from carelessness on the part of the industry. Most silent films are poorly preserved, leading to their deterioration, and well-preserved films are often played back at the wrong speed or suffer from censorship cuts and missing frames and scenes, giving the appearance of poor editing. Many silent films exist only in second- or third-generation copies, often made from already damaged and neglected film stock. Another widely held misconception is that silent films lacked color. In fact, color was far more prevalent in silent films than in the first few decades of sound films. By the early 1920s, 80 per cent of movies could be seen in some sort of color, usually in the form of film tinting or toning or even hand coloring, but also with fairly natural two-color processes such as Kinemacolor and Technicolor.

Међунаслови

The Cabinet of Dr. Caligari (1920) used stylized inter-titles.

As motion pictures gradually increased in running time, a replacement was needed for the in-house interpreter who would explain parts of the film to the audience. Because silent films had no synchronized sound for dialogue, onscreen inter-titles were used to narrate story points, present key dialogue and sometimes even comment on the action for the audience. The title writer became a key professional in silent film and was often separate from the scenario writer who created the story. Inter-titles (or titles as they were generally called at the time) "often were graphic elements themselves, featuring illustrations or abstract decorations that commented on the action".

Жива музика и друга звучна пратња

Showings of silent films almost always featured live music starting with the first public projection of movies by the Lumière brothers on December 28, 1895, in Paris. This was furthered in 1896 by the first motion-picture exhibition in the United States at Koster and Bial's Music Hall in New York City. At this event, Edison set the precedent that all exhibitions should be accompanied by an orchestra. From the beginning, music was recognized as essential, contributing atmosphere, and giving the audience vital emotional cues. Musicians sometimes played on film sets during shooting for similar reasons. However, depending on the size of the exhibition site, musical accompaniment could drastically change in scale. Small town and neighborhood movie theatres usually had a pianist. Beginning in the mid-1910s, large city theaters tended to have organists or ensembles of musicians. Massive theatre organs, which were designed to fill a gap between a simple piano soloist and a larger orchestra, had a wide range of special effects. Theatrical organs such as the famous "Mighty Wurlitzer" could simulate some orchestral sounds along with a number of percussion effects such as bass drums and cymbals, and sound effects ranging from "train and boat whistles [to] car horns and bird whistles; ... some could even simulate pistol shots, ringing phones, the sound of surf, horses' hooves, smashing pottery, [and] thunder and rain".

Musical scores for early silent films were either improvised or compiled of classical or theatrical repertory music. Once full features became commonplace, however, music was compiled from photoplay music by the pianist, organist, orchestra conductor or the movie studio itself, which included a cue sheet with the film. These sheets were often lengthy, with detailed notes about effects and moods to watch for. Starting with the mostly original score composed by Joseph Carl Breil for D. W. Griffith's epic The Birth of a Nation (1915), it became relatively common for the biggest-budgeted films to arrive at the exhibiting theater with original, specially composed scores. However, the first designated full-blown scores had in fact been composed in 1908, by Camille Saint-Saëns for The Assassination of the Duke of Guise, and by Mikhail Ippolitov-Ivanov for Stenka Razin.

Литература

• Bromberg, Serge; Lang, Eric (directors) (2012). The Extraordinary Voyage (DVD). MKS/Steamboat Films. 
• Brownlow, Kevin (1968a). The Parade's Gone By... New York: Alfred A. Knopf. 
•  ———  (1968b). The People on the Brook. New York: Alfred A. Knopf. 
• Cook, David A. (1990). A History of Narrative Film (2nd изд.). New York: W.W. Norton. ISBN 978-0-393-95553-8. 
• Current, Richard Nelson; Current, Marcia Ewing (1997). Loie Fuller: Goddess of Light. Boston: Northeastern University Press. ISBN 978-1-55553-309-0. 
• Eyman, Scott (1997). The Speed of Sound: Hollywood and the Talkie Revolution, 1926–1930. New York: Simon & Schuster. ISBN 978-0-684-81162-8. 
• Kaes, Anton (1990). „Silent Cinema”. Monatshefte. 82 (3): 246—256. ISSN 1934-2810. JSTOR 30155279. 
• Kobel, Peter (2007). Silent Movies: The Birth of Film and the Triumph of Movie Culture (1st изд.). New York: Little, Brown and Company. ISBN 978-0-316-11791-3. 
• Kula, Sam (1979). „Rescued from the Permafrost: The Dawson Collection of Motion Pictures”. Archivaria. Association of Canadian Archivists (8): 141—148. ISSN 1923-6409. Приступљено 7. 3. 2014. CS1 одржавање: Формат датума (веза)
• Lewis, John (2008). American Film: A History (1st изд.). New York: W. W. Norton & Company. ISBN 978-0-393-97922-0. 
• Marks, Martin Miller (1997). Music and the Silent Film: Contexts and Case Studies, 1895–1924. New York: Oxford University Press. ISBN 978-0-19-506891-7. 
• Morrison, Bill (2016). Dawson City: Frozen Time. KinoLorber. 
• Musser, Charles (1990). The Emergence of Cinema: The American Screen to 1907. New York: Charles Scribner's Sons. 
• Parkinson, David (1996). History of Film. New York: Thames and Hudson. ISBN 978-0-500-20277-7. 
• Read, Paul; Meyer, Mark-Paul, ур. (2000). Restoration of Motion Picture Film. Conservation and Museology. Oxford: Butterworth-Heinemann. ISBN 978-0-7506-2793-1. 
• Slide, Anthony (2000). Nitrate Won't Wait: A History of Film Preservation in the United States. Jefferson, North Carolina: McFarland & Co. ISBN 978-0-7864-0836-8. 
• Standish, Isolde (2006). A New History of Japanese Cinema: A Century of Narrative Film. New York: Continuum. ISBN 978-0-8264-1790-9. 
• Thompson, Frank T. (1996). Lost Films: Important Movies That Disappeared. New York: Carol Publishing. ISBN 978-0-8065-1604-2. 
• Brownlow, Kevin (1980). Hollywood: The Pioneers. New York: Alfred A. Knopf. ISBN 978-0-394-50851-1. 
• Corne, Jonah (2011). „Gods and Nobodies: Extras, the October Jubilee, and Von Sternberg's The Last Command”. Film International. 9 (6). ISSN 1651-6826. 
• Davis, Lon (2008). Silent Lives. Albany, New York: BearManor Media. ISBN 978-1-59393-124-7. 
• Everson, William K. (1978). American Silent Film. New York: Oxford University Press. ISBN 978-0-19-502348-0. 
• Mallozzi, Vincent M. (14. 2. 2009). „Note by Note, He Keeps the Silent-Film Era Alive”. The New York Times. стр. A35. Приступљено 11. 9. 2013. CS1 одржавање: Формат датума (веза)
• Stevenson, Diane (2011). „Three Versions of Stella Dallas”. Film International. 9 (6). ISSN 1651-6826. 
• Toles, George (2011). „Cocoon of Fire: Awakening to Love in Murnau's Sunrise”. Film International. 9 (6). ISSN 1651-6826. 
• Usai, Paolo Cherchi (2000). Silent Cinema: An Introduction (2nd изд.). London: British Film Institute. ISBN 978-0-85170-745-7. 

Спољашње везе

• Неми филмови
• Ера немог филма
• Биографије ере немог филма
• The Internet Archive's Silent Film Archive
• Silents, Please!: Interesting Avenues in Silent Film History
• The Silent Film Channel: Free Archive of Silent Films