by lengli
| Though it can be difficult for contemporary viewers to approach the world of silent film, it is one which, when pursued, is certainly rewarding. To view these movies is not only to experience the social and political phenomena that affected those living at the turn of the 20th century, but also to see the evolution of the film industry as we know it. Such films gave rise to theories and techniques that are still seen today, and were seriously inventive when it came to staging and special effects. Furthermore, these pictures were made in a variety of genres, so if you do not find yourself enthralled by the moody ethereality of early German Expressionism or fascinated by the sweeping epics of Abel Gance |
|
Below you'll find out more about the films that have stood the test of time: we hope that they'll withstand your tests as well.
Modern cinema owes a large debt of gratitude to filmmakers Sergei Eisenstein and Lev Kuleshov
,![]()
![]()
![]() |
![]() |
![]() |
![]() |
![]() |
October: Ten Days That Shook the World |
Earth |
Mother |
Due to the economic restraints imposed by the post-war recovery period, Germany was in no position to compete with the Hollywood studio system, so filmmakers had to make do with limited resources. Therefore, German cinema following World War I is known for being highly stylized and very symbolic: everything is about mise en scène and mood. While watching these pictures, you will notice non-realistic (to the point of absurdist) sets and interplay between shadow and light. Storylines are heavily focused on the battle between good and evil, sanity and insanity, loyalty and betrayal. For an outstanding example of Expressionism, we recommend starting with Paul Wegener's![]()
![]()
![]() |
![]() |
![]() |
![]() |
![]() |
Metropolis |
Nosferatu |
Pandora's Box |
The Last Laugh |
American innovations in film theory directly rival those of the Soviets: were it not for developments made to advance the idea of film as storytelling, the industry would not be what it is today. In the early years of production, most movies were short montages of pictures that were practially independent of flow or logic: the general consensus was that this new medium was merely a novelty, not a vehicle. However, with D.W. Griffith's![]()
,
![]() |
![]() |
![]() |
![]() |
![]() |
The General |
City Lights |
Thirsty for more? Check out these masterpieces from Danish, Spanish, French, British and Italian filmmakers. Or, if you're in the moody for a contemporary (and comic) take on silent cinema, try Mel Brooks'![]()
!
![]() |
![]() |
![]() |
![]() |
![]() |
Un Chien Andalou |
Napoleon |
The Lodger |
Cabiria |
![]() |
![]() |
![]() |
![]() |
![]() |