My experience of teaching silent film is that it can actually be quite
hard for non- specialists to get over the strangeness of silent films
(i.e. the over acting, the tendency to not always respect the boundaries
between diegetic and non-diegetic space, the speedy actions, etc) So
exploring silent aesthetics (and the realtions between the technology
and aesthetics) in advance could be a prerequisite to showing completed
films
Good luck, Peter
-----Original Message-----
From: Film-Philosophy Salon [mailto:[log in to unmask]] On
Behalf Of Frank, Michael
Sent: Wednesday, February 13, 2008 1:36 PM
To: [log in to unmask]
Subject: pedagogical query
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=20
[with apologies for duplication]
=20
has anyone on film-philo taught a course devoted exclusively to silent
film?
=20
i'm teaching such a course next semester [for the first time] and wonder
1. what films people have found to be successful in the
classroom and
2. whether there are any specific books [texts or
scholarly] that you'd recommend
=20
of course i'm familiar with some of the obvious choices [griffith,
eistenstein, vertov, lumiere, caligari] . . . but what about sennet
and/or chaplin, gance or murnau? . . . and of murnau, are there
reasons for choosing nosferatu rather than sunrise, or vice-versa? . . .
presumably M ought to be there too but what about lubitsch? . . . i
also know of - but am lamentably unfamiliar with - early japanese
cinema, which might stake a claim . . . so, any suggestions very much
appreciated . .=20
=20
i should point out that the course is for non-specialist students, most
of whom have never taken a cinema course, and for most of whom this will
be one of only two humanities courses in their entire undergraduate
career . . . i certainly don't want to water down the substance, but i
can't take any prior exposure for granted
=20
many thanks
=20
mike
=20
=20
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<p class=3DMsoPlainText><o:p> </o:p></p>
<p class=3DMsoPlainText><span style=3D'color:#0F243E'>[with apologies =
for duplication]<o:p></o:p></span></p>
<p class=3DMsoPlainText><o:p> </o:p></p>
<p class=3DMsoPlainText><b><span style=3D'font-family:"Palatino =
Linotype","serif"'>has anyone on film-philo taught a course devoted
exclusively to silent = film?<o:p></o:p></span></b></p>
<p class=3DMsoPlainText><b><span style=3D'font-family:"Palatino =
Linotype","serif"'><o:p> </o:p></span></b></p>
<p class=3DMsoPlainText><b><span style=3D'font-family:"Palatino =
Linotype","serif"'>i'm teaching such a course next semester [for the
first time] and = wonder<o:p></o:p></span></b></p>
<p class=3DMsoPlainText><b><span style=3D'font-family:"Palatino =
Linotype","serif"'>  
;=
1. what films people have found to be successful in the classroom =
and<o:p></o:p></span></b></p>
<p class=3DMsoPlainText><b><span style=3D'font-family:"Palatino =
Linotype","serif"'>  
;=
2. whether there are any specific books [texts or scholarly] that
= you'd recommend<o:p></o:p></span></b></p>
<p class=3DMsoPlainText><b><span style=3D'font-family:"Palatino =
Linotype","serif"'><o:p> </o:p></span></b></p>
<p class=3DMsoPlainText><b><span style=3D'font-family:"Palatino =
Linotype","serif"'>of course i'm familiar with some of the obvious
choices [griffith, = eistenstein, vertov, lumiere, caligari] . . . but
what about sennet and/or = chaplin, gance or murnau? . . .
and of murnau, are there reasons for choosing = <i>nosferatu</i> rather
than <i>sunrise</i>, or vice-versa? . . . presumably <i>M</i> = ought to
be there too but what about lubitsch? . . . i also know of –
= but am lamentably unfamiliar with – early japanese cinema, which
might = stake a claim . . . so, any suggestions very much
appreciated . . = <o:p></o:p></span></b></p>
<p class=3DMsoPlainText><b><span style=3D'font-family:"Palatino =
Linotype","serif"'><o:p> </o:p></span></b></p>
<p class=3DMsoPlainText><b><span style=3D'font-family:"Palatino =
Linotype","serif"'>i should point out that the course is for
non-specialist students, most of = whom have never taken a cinema
course, and for most of whom this will be one = of only two humanities
courses in their entire undergraduate career . . . i = certainly don't
want to water down the substance, but i can't take any prior = exposure
for granted<o:p></o:p></span></b></p>
<p class=3DMsoPlainText><b><span style=3D'font-family:"Palatino =
Linotype","serif"'><o:p> </o:p></span></b></p>
<p class=3DMsoPlainText><b><span style=3D'font-family:"Palatino =
Linotype","serif"'>many thanks<o:p></o:p></span></b></p>
<p class=3DMsoPlainText><b><span style=3D'font-family:"Palatino =
Linotype","serif"'><o:p> </o:p></span></b></p>
<p class=3DMsoPlainText><b><span style=3D'font-family:"Palatino =
Linotype","serif"'>mike<o:p></o:p></span></b></p>
<p class=3DMsoPlainText><b><span style=3D'font-family:"Palatino =
Linotype","serif"'><o:p> </o:p></span></b></p>
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<p class=3DMsoPlainText>**<o:p></o:p></p>
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