This thesis argues that how-to manuals and cue sheets are indicative of ideal performance practice amongst musicians from the silent film era. Pre-scored music was widely practiced amongst musicians. How-to manuals and cue sheets helped the musician accurately and consistently accompany a film. Authors of period manuals include W. Tyacke George, Edith Lang and George West, Ernst Luz and George Tootell. Compilers of cue sheet include James C. Bradford, Ernst Luz, Edward Kilenyi and Michael P. Krueger. Cue by cue analyses of The Cat and the Canary and The Gaucho show a high repetition of music, establishing continuity between the music played and the image on the screen. This shows how compilers associated music and film. These manuals and cue sheets prove that the musician community strove for a close connection between the image on screen and accompaniment. By 1920, arbitrary improvisation was unacceptable.

This thesis argues that how-to manuals and cue sheets are indicative of ideal performance practice amongst musicians from the silent film era. Pre-scored music was widely practiced amongst musicians. How-to manuals and cue sheets helped the musician accurately and consistently accompany a film. Authors of period manuals include W. Tyacke George, Edith Lang and George West, Ernst Luz and George Tootell. Compilers of cue sheet include James C. Bradford, Ernst Luz, Edward Kilenyi and Michael P. Krueger. Cue by cue analyses of The Cat and the Canary and The Gaucho show a high repetition of music, establishing continuity between the music played and the image on the screen. This shows how compilers associated music and film. These manuals and cue sheets prove that the musician community strove for a close connection between the image on screen and accompaniment. By 1920, arbitrary improvisation was unacceptable.

This thesis examines how visual music in Swedish silent film served as an allusion to sound, either as a cinematic effect or as an intertwined part of the film narrative. Drawing on the concepts of synaesthesia and visual music, a discussion on how both concepts relate to each other serves as the key method for analyzing a selection of films. By defining synaesthesia in relation to concepts such as Gesamtkunstwerk and photogénie, the analysis examines different synaesthetic expressions through visual music in Swedish silent film. This thesis argues that Swedish film was influenced through several forms of art and ideas from different cinematic cultures. By comparing synaesthetic expressions through visual music in Swedish silent film and other cinematic cultures, this thesis suggest that the concepts were used in different ways to define cinema as a unique form of art.

Purpose of this essay is to conduct a style analysis of Swedish silent film posters with visual storytelling and cultural memory as a theoretical basis. Concepts such as design, color and technique are studied to highlight the historical context of Swedish silent film posters.

<p>The thesis examines ’intermediality’ in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ‘reality’. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film. The thesis conclude, that early fiction films in general, and Svenska Bios films in particular, depended on their association with other media. The thesis also includes a short discussion concerning silent cinema music.</p>

<p>The thesis examines ’intermediality’ in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ‘reality’. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film. The thesis conclude, that early fiction films in general, and Svenska Bios films in particular, depended on their association with other media. The thesis also includes a short discussion concerning silent cinema music.</p>

The thesis examines ’intermediality’ in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ‘reality’. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film. The thesis conclude, that early fiction films in general, and Svenska Bios films in particular, depended on their association with other media. The thesis also includes a short discussion concerning silent cinema music.

The thesis examines ’intermediality’ in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ‘reality’. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film. The thesis conclude, that early fiction films in general, and Svenska Bios films in particular, depended on their association with other media. The thesis also includes a short discussion concerning silent cinema music.

Célèbres et reconnus mais peu discutés, les films réalisés par Erich von Stroheim, entre 1919 et 1929 à Hollywood, occupent une place problématique dans l’histoire et la théorie du cinéma. Les discours contradictoires ou paradoxaux qu’ils ont inspirés animent cette recherche. Œuvre à la fois mutilée, reconstruite ou ruinée, elle est indissociable d’une expérience du temps. La versatilité des mondes et les métamorphoses de l’intrigue qu’elle propose, malgré un régime narratif évident, invitent à reconsidérer les catégories de l’histoire du cinéma muet américain. Interrogeant la représentation de l’histoire, ces films donnent à penser l’événement de la Première Guerre mondiale comme un point aveugle, et livrent une historicité composite. Au sein des pratiques du cinéma muet hollywoodien, les films de Stroheim se distinguent par l’invention d’un montage en accolade produisant une continuité qui incite à envisager la question de la durée. Ces films s’écartent de ce qu’à la même époque instaure le naturalisme américain par-delà les modèles littéraires. Pour analyser ce cinéma dans sa complexité, sera examiné l’être stroheimien selon les devenirs qui le font changer dans la durée, différemment de son appréhension dans le temps chronologique. De sorte que leurs devenirs se mesurent relativement aux êtres cédant à l’entropie ou au contraire demeurant des invariants. Selon cette configuration générale, Stroheim crée les conditions d’une expérimentation distincte de celle du naturalisme traditionnel. / The films directed by Erich von Stroheim in Hollywood between 1919 and 1929, though little discussed, are famous and renowned, but they still remain an issue in both film history and film theory. Contradictions and paradoxes that characterize the discourses on these films drive this research. The works of Erich von Stroheim were in turns butchered, reconstructed, destroyed. Our aim is to show that it entails strongly an experience of time. Despite their obvious narrative plots, these films suggest a changeability of worlds and a metamorphosis of plot that lead us to review the standard approaches of American silent film history. While they question the representation of history, these films make the event of World War I appear as a blind spot, and reveal heterogeneous modes of historicity. Within the experiences of Hollywood silent films, the works of Erich von Stroheim are characterized by the creation of a bracket montage (montage en accolade), producing a continuity that invites us to consider the issue of duration. Beyond literary models, these films differ from what is established by American naturalism at the time. In order to make way for their complexity, we will study the Stroheim-being according to what it becomes and changes itself in duration, which is not what we could understand of it in chronological time. So what becomes of it is estimated with regard to its yielding to entropy, or, on the contrary, its remaining invariably the same. In accordance with this general configuration, Stroheim creates conditions that experiments a new way for naturalism.

La recherche interroge la valorisation des archives du Nederlands Filmmuseum [NFM] à partir du travail de compilation du cinéaste Peter Delpeut. Ce corpus de dix films [1989-1999] se situe à cheval entre deux ambitions qui ne sont pas toujours compatibles, entre une volonté d’archiviste de rendre accessible des films muets [1895-1931] parfois de simples fragments, en restituant leur couleur, en créant une sonorisation et une quête artistique, plus personnel et liée à un cinéaste. Convoquant des sources audiovisuelles mais également écrites et orales, il s’agit d’abord de se demander comment le NFM en vient à produire ces compilations afin de mettre en valeur ses collections, de tracer l’histoire de cette cinémathèque et de suivre la trajectoire de Delpeut, en somme de comprendre la rencontre entre cet homme riche d’une expérience de recherche, de critique et de réalisation et une institution en plein bouleversement de sa philosophie dans les années 1990. Le questionnement s’oriente ensuite sur le processus de fabrication lui-même et de la façon dont fonctionnent ces compilations en vue de montrer comment elles sont prises en tension entre le sensoriel et l’analytique, étant au-delà et en deçà d’une stricte valorisation des films muets du NFM. La dernière partie interroge les usages des compilations, la manière dont elles sont liées à la politique de programmation du NFM, comment elles affectent la dynamique de l’institution et du cinéaste, mais aussi comment elles sortent du cadre de la cinémathèque, évaluant à chaque fois les apports et les limites en terme de transmission d’un patrimoine cinématographique. / The research examines the promotion of film archives from the Netherlands Filmmuseum [NFM] through Peter Delpeut’s compilation work. These ten films [1989-1999] are between two directions that are not always in compatibility, on one side an artistic cinematic search and on the other side the archivist’s will of giving access to silent films [1895-1931] that are in fragments, in colour and with a sound creation. Using audiovisual, written and oral sources, the first interest is to focus on whether how the NFM comes to produce these compilations for promoting its collections, lining out the history of this film archive and following Delpeut’s career, to understand the meeting between a man with great experience as researcher, critic and filmmaker and an institution challenging its philosophy during the 1990’s. The research then examines the process of filmmaking itself and functioning of this compilation work to show that there is a tension between sensorial and analytical terms, over the borderline of a strict promotion of NFM’s silent films. The last part explores the utilisation of these compilations, the way they are related to Museum’s programming politics, how they affect this institution and Delpeut’s dynamics, beyond the film archive, each time evaluating the contributions and limitations for the transmission of silent cinema heritage