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Thesis (M.M.) -- Florida State University, 2003. / Advisor: Denise Von Glahn, Florida State University, School of Music. Title and description from thesis home page (viewed 9-29-04). Document formatted into pages; contains 78 pages. Includes biographical sketch. Includes bibliographical references.

Šiame diplominiame darbe yra apžvelgiama nebyliojo kino analizė. Kurią sudaro kino pradžios ir vystymosi aptarimas, remiantis istoriniais literatūros šaltiniais. Neišskiriant konkrečių pavienių filmų yra smulkiau analizuojas nebyliojo kino sudėtiniai elementai, tokie kaip muzika ir rašytinis tekstas filme. Aptariama jų stilistinė ir emocinė vartosena nebyliajame kine. Svarbi darbo dalis siejama su garso atsiradimo kine sukeltomis permainomis. Iškilę to laiko režisierių ir teoretikų, tokių kaip Eizenšteinas ir Pudovkinas, debatai dėl garso naudojimo kine keliamos reikiamybės ir pavojų vėliau realiai pasitvirtina praktikoje. Nebylumas kine analizuojamas ne vien istoriniu, bet ir filosofiniu aspektu. Antroji šio darbo dalis skirta pasikartojančioms nebyliojo kino apraiškoms išskirti. Tylos ir nebylumo vartosenos tyrimui remiuosi Susan Sontag tylos estetikos studijomis šiuolaikiniuose menuose, kurias savo ruoštu pakreipiau nagrinėdama idėjinį nebylumo poreikį kine, kuris kyla iš persisotinimo kalba ir daugžodžiavimo. Kūrybinėje darbo dalyje yra aptarimas klausos sutrikimų turinčių žmonių poreikis save reikšti bylioje raiškoje. Ir atliekamas video darbas šia tema. / This thesis is an overview of silent film analysis. This contains of early cinema beginning and development steps according historical researches. Without a need of separating concrete single movies and analyzing them as canonic examples I put my attention on music and written text stylistic influences. It discusses the emotional and stylistic usage silent cinema. An important part of this work is associated with the emergence of sound cinema – related changes. The evocation of that time, directors and theorists such as Eisenstein and Pudovkin, debate on the use of sound in cinema, and the risk posed by the necessity which actually proves in a later practice. Silence is analyzed not only in cinema history, but also the philosophical aspect. The second part of this work is given for manifestation of silent cinema release. Susan Sontag's survey of silence aesthetic studies of contemporary art, by its turn, examining the ideological tilt gives idea of need of deafness for the cinema, which arise from satiety language and repetition. Creative part of this work is hearing impaired people need to express themselves in resolution which is based on sound media. And according this topic I made a video work.

This thesis addresses a neglected area of British national cinema history, presenting the first comprehensive study of Scotland’s incursions into narrative film production before the coming of sound. It explores both the specificity of Scottish production and its place within the broader cultural, political and economic contexts of the British film industry at key periods in the ‘silent’ era before and after the Great War. Early film production in Scotland has been characterised as a story of isolated and short-lived enterprises whose failure was inevitable. The work problematises this view, focusing instead on the potential for success of the various production strategies employed by Scottish film-makers. It demonstrates that producers were both ambitious and resourceful in the manner in which they sought to bring their films to local, national and international screens. Previously unknown markets for these films are also identified. In 1911 the first British three-reel film, Rob Roy, made in Scotland by a Glasgow production company, reached audiences as far away as Australia and New Zealand. Scottish efforts in film production, including the development of synchronised sound systems, were not haphazard but mirrored trends in the British and worldwide film industries until the late 1920s. With the coming of sound, the costs of commercial film production represented too great a challenge for the limited resources of Scottish producers. The study encompasses a detailed exploration of efforts in feature film production; how far these productions travelled and for whom they were made; the presentation and treatment of Scottish-made films by the trade press and local newspapers and their critical reception both at home and overseas. The majority of these films are lost, but close scrutiny of contemporary publicity and archival documents including business records has enabled a detailed picture to emerge of their content, nature and production background. Scottish stories and the Scottish landscape were important to the British film industry from its earliest days, and feature films shot on Scottish locations by outside producers are also discussed. Were these the films Scots would have made, if they could?

Over the last two centuries, mass-produced serial narratives, especially those created for women, have been vilified or ignored by literary and cultural critics. Serial narratives, which include continuing stories published in installments and independent tales that form part of an overarching plot, have been maligned for their content, for the material realities of their mass production, and most simply for their popularity. Serial texts aimed at female audiences have been subjected to further criticisms: they have been judged as being trivial or insipid in content and as lacking aesthetic merit or cultural weight. Despite these criticisms, serial narratives were exceedingly popular with audiences in the late nineteenth and early twentieth centuries and by the end of the twentieth century became the dominant mode of storytelling across nearly all media. Popularity, far from being a reason to disparage these works, suggests the enormous power serial narratives have to both reflect and shape the culture that produces and consumes them. This cultural agency has long been overlooked, and this study hopes to change that. Serial narratives, it will be argued, train readers and viewers in various ways to actively participate in the narrative and in parallel ways in real life, an outcome especially noteworthy for modern female audiences. Ongoing and repetitive, serial narratives invite long-term engagement that enables audiences to participate imaginatively in the story itself and to embody the attitudes and behaviors of the serial protagonists in their own lives. In addition, because they are published on a potentially infinite basis, serial narratives are a medium through which modern audiences come to understand themselves and the world they inhabit. This connection between the reading and viewing choices of the modern citizen and their lived experiences, what I call serial modernism, provides a way of understanding how serial texts enact this connection particularly in relation to the modern woman’s increasing sense of agency and her continually evolving identity. Several serial texts from different eras and in different media that powerfully engage with evolving expectations of American women over the last 150 years will crystallize this connection: Louisa May Alcott’s Little Women series (1868-1886) and her serialized novel Work (1873); two silent film serials, The Perils of Pauline (1914) and The Hazards of Helen (1914-1917); two teenage sleuth series, Carolyn Keene’s Nancy Drew (1930-2003) and Margaret Sutton’s Judy Bolton (1930-1967); and Sara Paretsky’s adult detective series V.I. Warshawski (1982-present).

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The Basilica Notre-Dame Choir accompanying screenings of The Hunchback of Notre Dame at the Regent in 1924, imaginative community prologues before Mary Pickford’s Pollyanna at the Russell in 1920, and costumed opera soloists singing alongside the showing of The Bohemian Girl at the Imperial in 1926: the history of Ottawa’s silent cinemas is an exciting mix of film, theatre, technology, music, and community. Unfortunately, Ottawa’s musical history in the early 1900s has been, by and large, forgotten, and local cinema histories are relatively sparse. In much the same manner that Ottawa theatres incorporated both North American and local elements into their programming, this thesis demonstrates that an examination of the musicians of local cinemas can not only provide information to understand the development of silent film music practices in general, but also unveil a network of musicians and a series of important histories. This thesis reconstructs parts of Ottawa’s silent film music history using a number of methodologies (digital research, archival research, and social network mapping) and primary sources (IATSE union documents, Department of Labour strike documents, newspapers, and trade journals). It also analyses several screenings where music and film were uniquely combined and introduces key figures in Ottawa’s silent film music scene (including violinist Rudolph Pelisek and organist Amédée Tremblay), showing how their training provided prestige to cinemas and how their involvement in military, religious, and communal activities added to cinemas’ appeal. ----- Le Chœur de la Basilique Notre-Dame accompagnant les présentations du film The Hunchback of Notre Dame au Regent en 1924, les prologues communautaires inventifs avant le Pollyanna de Mary Pickford au Russell en 1920, et les soloistes d’opéra chantant à côté de la projection de The Bohemian Girl à l’Imperial en 1926: l’histoire des cinémas muets d’Ottawa est un mélange excitant de film, théâtre, technologie, musique et communauté. Malheureusement, le passé musical d’Ottawa au début du vingtième siècle a été largement oublié, et les histoires locales du cinéma sont relativement rares. De la même façon que les théâtres d’Ottawa incluaient à la fois des éléments locaux et nord-américains dans leur programmation, cette thèse démontre qu’un examen des musiciens des cinémas locaux peut non seulement procurer des renseignements pour comprendre le développement de la musique du cinéma muet en général, mais encore lever le voile sur un réseau de musiciens et une série de récits d’importance. Cette thèse reconstruit des aspects de l’histoire de la musique du du cinéma muet à Ottawa en utilisant un plusieurs méthodologies (la recherche numérique, la recherche en archives, et la cartographie des réseaux sociaux) et de sources primaires (documents du syndicat ouvrier IATSE, documents de grève du ministère fédéral du Travail, quotidiens, et revues spécialisées). La thèse analyse aussi quelques instances uniques de combinaison de musique et de film, et présente des personnages clé de la scène musicale du cinéma muet d’Ottawa (incluant le violoniste Rudolph Pelisek et l’organiste Amédée Tremblay), tout en montrant comment leur formation procurait du prestige aux cinémas, et comment leur implication dans des activités militaires, religieuses, et communautaires ont ajouté à la popularité des cinémas.

The thesis revisits film and film-culture history in Sweden, Denmark and Norway with a view to discourses and practices of the inter- and trans-Scandinavian in the silent era. Excluding the earliest films, but including the transition to synchronised sound, it covers the period of the 1900s to 1930 with emphasis on the 1910s and 1920s. The thesis identifies notions about the relations between the Scandinavian and the national by means of a number of case studies based on textual historical sources. As a consistent Scandinavian perspective on this period is new, the investigation substantially supplements and revises the individual national film histories of these countries. It adds missing context to national developments and makes visible border phenomena such as transnational collaborations and co-producing practices. The thesis finds that film production in Scandinavia in the silent era was orientated towards one of two poles, at times combined or in a state of negotiation: international economic ambitions or national cultural aspirations. The latter was frequently conceptualised as northern, Nordic and Scandinavian. ‘Scandinaviannesses’ performed when drawing on nature, folklore, literature and heritage, not least that of Norway, were employed for use in and out of Scandinavia by means of strategies of ‘double-entry book-keeping’.  During the period, the notion of location underwent changes from an illusory, theatrical device to an inherently meaningful entity carrying identities infused with the Scandinavian. Examining the effects of shared comprehension of language and a shared recent history of Scandinavist ideas, the thesis identifies instrumental notions of kindredness and senses of cultural proprietorship extending to the output of the neighbouring countries. These notions were mobilised selectively within film culture and motivated practical transnational collaboration from the side of the authorities as well as in trade organisations.

Made available in DSpace on 2016-04-27T19:31:14Z (GMT). No. of bitstreams: 1 Veruschka de Sales Azevedo.pdf: 9629216 bytes, checksum: f633c7c038751af4230590d0ec9ac004 (MD5) Previous issue date: 2016-03-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work aims to record the arrival of silent cinema in the coffee towns, Franca and Ribeirão Preto, in the late nineteenth century and the first two decades of the twentieth century, seeking to understand how cinema influenced the sociability spaces of those cities that began to urbanize and experience the arrival of a set of icons of modernity, and the film of them. The historical period (1890-1930) corresponds to the economic and political rise of the Paulista coffee elite in the First Republic. This reference therefore puts the coffee cities at the center of urban transformations within a period we call Belle Èpoque hick, when the speech of civilization and progress was used in city leading. The analysis of documents on cinema in those early times in the cities of Franca and Ribeirão Preto, showed us a rich and diverse world of entertainment, marked by the theater, performances of "vaudeville", the opera, the circus, and most exciting of all the entertainment, cinema. In this sense, the records in the press of the period, daily and even in advertisements and some city cinemas bankruptcy documents point to an intense cultural life that led some area resident to trade the production and exhibition of cinema. These documents are important because they show up how was the reception of the film, the relationship between the coffee economy and the world of entertainment, leading us to the interesting record of the silent cinema history in the coffee grounds / Este trabalho tem o objetivo de registrar a chegada do cinema silencioso nas cidades do café, Franca e Ribeirão Preto, em fins do século XIX e nas duas primeiras décadas do século XX, buscando apreender como o cinema influenciou nos espaços de sociabilidade daquelas cidades que começavam a se urbanizar e vivenciar a chegada de um conjunto de ícones da modernidade, sendo o cinema um deles. O recorte histórico (1890-1930) corresponde à ascensão econômica e política da elite cafeeira paulista na Primeira República. Tal referência coloca por consequência as cidades do café no centro das transformações urbanas dentro de um período que denominamos Belle Èpoque Caipira, quando o discurso da civilização e do progresso foi utilizado na condução da cidade. A análise dos documentos sobre o cinema nesses primeiros tempos, nas cidades de Franca e Ribeirão Preto, mostrou-nos um rico e diversificado mundo de entretenimento, marcado pelo teatro, espetáculos de vaudeville , a ópera, o circo, e o mais instigante de todos os entretenimentos, o cinema. Neste sentido, os registros na imprensa da época, nos diários e até mesmo nas propagandas e documentos de falência de alguns cinemas da cidade apontam para uma intensa vida cultural que conduziu alguns citadinos para o comércio da produção e exibição de fitas. Esses documentos são importantes por indicar como se deu a recepção do cinema, a relação entre a economia cafeeira e o mundo do entretenimento, conduzindo-nos ao interessante registro da trajetória do cinema silencioso nas terras do café

My research is centred around Silent Era films adapted from nineteenth and early twentieth century Gothic literature with a special emphasis on the figure of the monster and its translation from literary to cinematic form. The corpus I have assembled for the purposes of this analysis comprises sixty-six films made in ten different countries between 1897 and 1929. Many of these films are considered lost and I have endeavored to reconstruct them as much as possible using materials located in film archives. The Introduction lays out the ground covered in the thesis and provides a working definition of ‘monstrosity’ in this context. The first chapter deals with the historical, economic, cultural, social and technological contexts of the films under discussion. The second chapter approaches the eight literary monster figures who form the core of this thesis through the lens of Adaptation Theory. The third chapter examines the elements of cinematic language that were particularly relevant to translating monster characters and Gothic literary narratives into silent film, placing this corpus into the context of silent film history and theory. The fourth chapter reviews a cross-section of intermedial systems of classification that have been applied to monster figures, and proposes a new system that would reflect the multifarious nature of the silent film Gothic literary monster. Chapters Five through Nine offer a theoretical framework for classifying the principal characteristics of the silent film Gothic monster by applying various philosophical and aesthetic concepts. The final chapter summarises the material presented in earlier chapters and offers relevant conclusions demonstrating how these films employ the unique characteristics, conventions, and limitations of the silent film medium in their representations of the Gothic literary monster.