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I Am Not One of Those People Who Have Been Going to Le Giornate Del Cinema Muto for Decades

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I Am Not One of Those People Who Have Been Going to Le Giornate Del Cinema Muto for Decades COLLEGIUM PAPERS - AN INTRODUCTION David Robinson In the early years of the Collegium, the annual papers were published in hard-copy book form, which gave them a sense of permanence which some (if not all of them, perhaps) certainly deserved. Sadly, the changing situation of cultural economies no longer permits us this traditional style of record, and we now reluctantly acknowledge that the only mode or publication for the immediate future is on-line. We look for the positive side in every necessity. The formality of book production required that the papers underwent a formal process of editing, to transform them into conventional, correct English. It made for easier reading, but we were also conscious that often we lost a certain freshness and vitality in the very errors of people battling to express themselves in a language not native to them (and moreover we had occasional complaints that our editing was too opinionated!). The internet heartens informality and is a welcoming host to orthographic eccentricity. Now, then, we feel justified in publishing the papers in their original form – errors and enthusiasm unchecked. We are proud – even amazed by the best of them; disappointed in those that have not turned out so well. But they are all new voices, worth hearing. 1 THE COLLEGIUM “RULE” The Collegium - whose sessions will be open to all guests of the festival and the general public - is an unconventional experiment in the technique of study. It is designed to utilise the unique conditions of the Giornate - a very concentrated one-week event; the possibility to see an extensive collection of rare archival films; the presence in one place and at one time of many (perhaps most) of the world's best qualified experts in film history - scholars, historians, archivists, collectors, critics, academics and just plain enthusiasts. The aim of the Collegium is to excite a new generation in the idea of cinema history and heritage, and to infiltrate these newcomers into the very special community that has evolved around the Giornate during its thirty years. We want the participants in the Collegium to feel themselves members of that community, not to be awed and intimidated by the age, experience, authority or scholarship of the people they meet in Pordenone. From past years' experience we recognise that we derive the maximum advantage from the special conditions of this short week of concentrated activity by returning to a fundamental, classical concept of study, in which the impetus is the students' curiosity and inquiry rather than the imposition of a formal teaching programme. Hence instead of formal lectures and panels, the daily sessions of the Collegium take the form of a series of "Dialogues", in the Platonic sense, in which the collegians sit down with groups of experts in different aspects of the Giornate programme or in various fields of the study and techniques of film history and conservation. The object of these Dialogues is not only to elicit information and instruction, but to establish personal, social connection between collegians and Pordenone habitues, so that the former will have no inhibitions about approaching the latter, in the course of the week, for supplementary discussion. Naturally collegians are required to see as much of the festival programme as possible. 2 To focus their inquiry, the members of the Collegium are each required to write, retrospectively, a paper or essay on some theme emerging from or inspired by the experiences of the Giornate. This may be done in collaboration with one of the "mentors" - veterans of the previous year's Collegium who return to support and assist the newcomers. The principal sources of information for the publication are likely to be interrogation of the appropriate experts present at the Giornate or study of particular aspects of the programme. THE OVERALL CRITERION FOR PAPERS IS THAT THEY COULD ONLY HAVE BEEN WRITTEN AS A RESULT OF THE GIORNATE EXPERIENCE. There are no limits - beyond readable literacy - on the style and form of the essays. The aim is that these papers will not just be a student exercise, but will provide generally useful reading even for the experts from whose experience and advice they derive, who may discover insights which may not have struck them before. We do not look for formal academic or age qualifications in collegians. The qualities we look for in the twelve young people invited each year are enthusiasm, energy and above all curiosity. Prospective applicants should in the first instance simply write a letter explaining (1) who they are, (2) what is their special interest in film history, (3) what is their experience of silent films and (4) why they feel they are suited to be members of the Collegium, which involves integrating socially with the other collegians and mentors, and making positive contacts with the Pordenone population of film history experts. 3 THE COLLEGIUM PAPERS 2010 An Experience That Speaks in Many Ways: A Giornate Review, by Jennifer Alpert................6 Brazilian identity in the films of Major Reis and Silvino Santos, by Rodrigo Campos Castello Branco ...................................................................................................... 11 Silent film in action, by Viktorija Eksta................................................................. 26 Preserving (E)Motion(s), by Valeria Festinese..........................................................35 Born by accident: Film medici di Vincenzo Neri, 1908-1928, by Raphael Luce...................46 "How would you like to throw plates at me for life?" or The Poetry of Inter-titles, by Zsuzsanna Kiràly..........................................................................................................60 Freefalling into the world of the silent film – a week in Le Giornate Del Cinema Muto, by Otto Kylmälä.......................................................................................................72 Black Holes in the Film History – Movies Outside the Genre Box, Ideas of a Nation Filmography and Obscure Movies from Great Directors, by Mateus Nagime......................................81 The Silent Films of Mikhail Kalatozov: Romanticism and the Sublime, by Amos Stailey-Young.93 A Fragmentary Appreciation of the Silent Cinema, by Kristofer Woods...........................106 4 An Experience That Speaks in Many Ways: A Giornate Review Jennifer Alpert There are many ways to experience Le Giornate del Cinema Muto in Pordenone, some more elitist than others. On the one hand, there is the regular festival-goer category, comprised mostly of film academics and enthusiasts, some of which are also donors by virtue of making monetary contributions. Secondly, there is also the festival guest or award recipient, as was the case with film historians Kevin Brownlow and Andre Gaudreault this year. And thirdly, there is the experience of being a collegian, which brings together 12 film students from all over the world to experience the Giornate in a very different way: not only as young silent film enthusiasts but also as debutantes in a tight knight community that has been gathering once a year for almost three decades to watch films the way the were meant to be watched. Introducing young and aspiring scholars into this community is important according to the collegium directors. This festival is special: all films played are silent (or most, with the exception of some newer documentaries), usually rare and an overwhelming majority of the titles are played either on 35 or 16mm film. The 12 collegians (joined by 12 mentors and past year collegians as well as associate/voluntary collegians) are special in Pordenone: they watch films just like regular festival-goers, but also shape the mid-day dialogues that comprise the collegium experience. In these stimulating sessions, experts from selected areas of the festival come to give short talks and answer questions in an interactive format. At times, these open collegium sessions become crowded with festival-goers, who are just as curious and open to learning as the students themselves. This year, the “Grains and Pixels” and “Films Were Never Silent” sessions (the Film Preservation and Musical Accompaniment 5 dialogues respectively) attracted such numerous participants that some attendees listened through the open windows of the convent in which the talks take place. In addition to attending these hour and a half long noon sessions, there are also other items collegians learn right away upon embarking on their Pordenone experience. First, that at any moment in time, one may sit next to (in a restaurant or the theatre) an academic celebrity, an accomplished archivist, a person who has been attending Le Giornate loyally since its first edition or even one of the festival’s organizers! It is so easy to strike up casual conversation about the films everybody has been watching while going into the theatre (there are usually no lines to go in, except for the opening and closing night events). In the teatro Verdi, the festival’s venue this year, all educational levels mix and there is a cordiality that is unusual in industry festivals. Secondly, being a collegian is a well-loved role in the festival. It commands the respect and attention of people “in the know”, and while there is no handholding from the organizers, there is a vast former collegian network that does not hesitate to give a warm welcome. Thirdly, people are just as easy to find and talk to at the theatre
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