Well, it’s coming to that time of year again, and to help you get through the rigours of Christmas, we thought we come up with a selection of the books published this year on silent film which might be the sort of presents you’d rather like to get for yourselves as opposed to those you can expect from the nearest and dearest. So here’s an idiosyncractic selection of some of the publishing highlights of 2011:
Andrew Shail (ed.), Reading the Cinematograph: The Cinema in British Short Fiction 1896-1912 (University of Exeter Press). One of the most novel and interesting silent film books of the year is this mixture of anthology and critical history, which brings together eight short stories about early cinema, published at the time, paired with scholarly essays in each. Pieces such as Rudyard Kipling’s ‘Mrs Bathhurst’, George R. Sims’ ‘Our Detective Story’ and Mrs H.J. Bickle’s ‘Love and the Bioscope’ are introduced by Tom Gunning, Stephen Bottomore, Andrew Higson and others. The stories are facsimile reprints with the original illustrations, and the essays are illuminating, cogent and enthusiastic.
Bryony Dixon, 100 Silent Films (BFI/Palgrave Macmillan). The book surely no silent fan can resist is this knowledgeable, slightly polemical account of 100 representative silent films. Not the 100 best, but 100 that cover the great range of silent films, so encompassing not just the best-known feature films, but equally early cinema, documentary, newsreels, animation, natural history, actuality, advertising films and the avant garde. A book full of discoveries, with great knowledge expressed in an easy style.
Matthew Solomon, Fantastic Voyages of the Cinematic Imagination: Georges Méliès’s Trip to the Moon (State University of New York Press). It really has been Georges Méliès’ year, and two of the year’s most notable publications concern his iconic 1902 film, Le voyage dans la lune. Fantastic Voyages is a collection of essays that cover the many different aspects of the film, from its production history, to its contemporary contexts, to its meanings today. It also comes with a critical edition DVD. It’s a whole scientific adventure in itself.
La couleur retrouvée du Voyage dans la Lune / A Trip to the Moon Back in color (Capricci Editions / Technicolor Foundation). This 192-page book was produced by the Technicolor Foundation to accompany the sensational colour restoration of Le voyage dans la lune. Written in English and French, it is gorgeously illustrated and jam-packed with essential information on the film’s history, Georges Méliès himself, and the restoration. It is available for free as a PDF from the Groupama Gan Foundation website; hard copies can be purchased in France, but I got mine just by writing to Technicolor and asking.
Martin Loiperdinger (ed.), Early Cinema Today: The Art of Programming and Live Performance (John Libbey). One of the themes of silent film publication this year, at least as far as this selection is concerned, is pushing the subject out into new territories. I don’t recall seeing before now a whole book devoted to the presentation and performance of early cinema today. This fascinating selection brings together essays by academics, programmers and archivists who are discovering new meanings in the films of a century ago in the act of thinking how best to put them before the audiences of today.
Charles Drazin, The Faber Book of French Cinema (Faber). This, as the title indicates, is not solely devoted to silent films, but rather takes in the whole of French cinema. Single volumes recounting the history of a national cinema for a general audience rather than specialist academic have become something of a rarity, so an acessible and useful overview like this is particularly welcome. Drazin shows due and knowledgeable attention to French silent cinema, even the complexities of the earliest period when Pathé and Gaumont first set up their multinational empires, connecting it all to the latter years of Renior, Pagnol, Duvivier, Godard, Truffaut and Audaird.
John Bengston, Silent Visions: Discovering Early Hollywood and New York Through the Films of Harold Lloyd (Santa Monica Press). John Bengston’s photographic volumes illustrating the real locations used in the great silent comedies are innovative classics. Following on from his much acclaimed volumes on Chaplin and Keaton, here he illuminates the artistry of Harold Lloyd through an understanding of the locations used in Safety Last, Girl Shy, The Freshman, Speedy and others. A delight both for the film historian and any enthusiast for social or urban history.
Aubrey Solomon, The Fox Film Corporation 1915-1935 (McFarland). A solid, really useful acount of Fox before it was Twentieth Century-Fox, this studio history covers its foundation by archetypal mogul William Fox, the man who turned a “$1600 investment into a globe-spanning $300 million empire”, the production of such classics as The Iron Horse and Sunrise, and contains a comprehensive filmography. A film book publication of the traditional and entirely reliable kind.
Caroline Frick, Saving Cinema: The Politics of Preservation (Oxford University Press). As is becoming increasingly clear, cinema history is at a crossroads, as celluloid comes to the end of its natural life and digital takes over. This makes archiving riven with practical, aesthetic and politicial choices to be made, which are the subject of huge debate. This thoughtful and well-researched book shows the dilemmas but also the great opportunities that digital brings to film archives, especially in opening up previously invisible corners of our moving image heritage. Are we saving cinema, or are we saving something else?
These are just my suggestions. If you have favourites of your own from 2011, do let us all know.