01.11.06
For Serious Silent Film Geeks
Mr. David Jeffers’ comment on my last post reminded me of a remarkable book I would be remiss in not mentioning.
Don’t let the title fool you. Silent Cinema: An Introduction (BFI, 2000; 212 pgs.) by Paolo Cherchi Usai is no glossing overview of Edison and Griffith. It is an absolutely essential mother lode of information and rare history for the serious film-tech geek with even a passing interest in silent film. I am aware of no other work that comes even close to it when it comes to detailed, reliable information on all aspects of early film technology and its preservation.
It is a significantly revised and updated edition of Burning Passions (1991), which itself has apparently been a signature work pretty much since its publication. Best of all, it is equal parts history, source book, reference, primer, practicum, and in-depth analysis all wrapped in a crystal clear layout suitable for both skimming and wrapt absorption — in short, a real achievement and the kind of academic publication that should be a model regardless of topic or discipline.
Slient Cinema devotes whole chapters to erudite but (mostly) lay-approachable discussions of topics such as neglected pioneers (Max Skladanowsky anyone?), film gauges and aspect ratios, early experiments in color (a pet interest of mine), the fine art of filmography research, how to contact and interact with film archives, the ethics of restoration, even how to read an archive’s index card.
Ever wondered what the difference between tinting and toning was? It’s not only clearly explained, there’s color plates showing examples of most of the available stocks and processes of the day. Trying to find an archive of Albanian silent film? Check one of the appendices. Early sound? Yep, got it.
Dr. Cherchi Usai is very well qualified to write of such things. He has served as the Senior Curator of the Motion Picture Department at the George Eastman House (1989-2004), founded the L. Jeffrey Selznick School of Film Preservation, the first institution of its kind in the United States which joined with the University of Rochester (NY) to create a master’s program in film and media preservation, and — among much else — is currently serving as Director of the National Screen and Sound Archive in Australia. He was also the 2005 recipient of the Award for Distinction in Scholarship and Conservation, given by Heritage Preservation and the College Art Association. In short, homey rocks.
I cannot praise this book enough.
