Silent Topics

In Silent Topics, film historian Anthony Slide looks at various under-discussed and generally undocumented areas of silent film. The two lengthiest essays discuss the release of British silent films in the United States and the contribution of gays and lesbians to American silent film. Other essays examine the cost of silent film production, the "Great Events" series produced by Technicolor in the 1920s, and the manner in which early sheet music exploited silent film personalities. There are career essays on the screen's first special effects specialist, Roy Pomeroy, actor/minister Neal Dodd, and Margerie Bonner, the wife of novelist Malcolm Lowry. Silent Topics also includes the only known interview with the most prominent of silent film composers, David Mendoza, as well as a personal discussion on the lack of talent among a number of silent screen actors and actresses.

This book considers the null-subject phenomenon, whereby some languages lack an overtly realized referential subject in specific contexts. In generative syntax-the approach adopted in this volume-the phenomenon has traditionally been explained in terms of a 'pro-drop' parameter with associated cluster properties; more recently, however, it has become clear that pro-drop phenomena do not always correlate with all the initially predicted cluster properties. This volume returns to the centre of the debate surrounding the empirical phenomena associated with null subjects. Experts in the field explore the cluster properties associated with pro-drop; the types of null category involved in null-subject phenomena and their identification; and the typology of null-subject languages, with a special focus on partial null-subject languages. Chapters include both novel empirical data and new theoretical analyses covering the major approaches to null subjects in generative grammar. A wide range of languages are examined, ranging from the most commonly studied in research into null subjects, such as Finnish and Italian, to lesser-studied languages such as Vietnamese and Polish, minority languages such as Cimbrian and Kashubian, and historical varieties such as Old French and Old High German. The research presented also contributes to the understanding of other key syntactic phenomena, such as the nature of control, the role of information structure and semantics in syntax, the mechanisms of language change, and the formalization of language variation. The breadth and depth of the volume will make it a valuable resource not only for generative syntacticians, but also for all those working in the fields of historical linguistics, typology, comparative grammar, semantics, and theoretical and descriptive linguistics more generally.

This volume represents the most comprehensive collection ever produced of empirical research on Holocaust education around the world. It comes at a critical time, as the world observes the 70th anniversary of the liberation of Auschwitz. We are now at a turning point, as the generations that witnessed and survived the Shoah are slowly passing on. Governments are charged with ensuring that this defining event of the 20th century takes its rightful place in the schooling and the historical consciousness of their peoples. The policies and practices of Holocaust education around the world are as diverse as the countries that grapple with its history and its meaning. Educators around the globe struggle to reconcile national histories and memories with the international realities of the Holocaust and its implications for the present. These efforts take place at a time when scholarship about the Holocaust itself has made great strides. In this book, these issues are framed by some of the leading voices in the field, including Elie Wiesel and Yehuda Bauer, and then explored by many distinguished scholars who represent a wide range of expertise. Holocaust education is of such significance, so rich in meaning, so powerful in content, and so diverse in practice that the need for extensive, high-quality empirical research is critical. Th is book provides exactly that.

Between 1895 and 1929, more than 15,000 motion pictures were made in the United States. We call these works “silent films,” but they were accompanied by an enormous body of music, including works adapted or arranged from pre-existing works, as well as newly composed pieces for theater orchestras, organists, or pianists. While many films and pieces are lost, a considerable amount of material remains extant and available for use in research and performance. Music for Silent Film: A Guide to North American Resources is a unique resource on North American archives and English-language materials available in for those interested in this repertoire. Part I contains information about archives of primary source materials including full and compiled scores, sheet music, published anthologies of music, interviews with cinema musicians, periodicals, and instruction books. Part II surveys the English-language scholarship on silent film music in articles, book chapters, essay collections, and monographs through 2015. The book is fully indexed for ease of access to these important sources on film music.

The silent film era was known in part for its cliffhanger serials and air of suspense that kept audiences returning to theaters week after week. Icons such as Douglas Fairbanks, Laurel and Hardy, Lon Chaney and Harry Houdini were among those who graced the dark and shadowy screen. This reference guide to silent films with mystery and detective content lists more than 1,500 titles in one of entertainment's most popular and enduring genres. While most of the films examined are from North America, mystery films from around the world are included.

F. Scott Fitzgerald on Silent Film is the first full-length monograph focusing on the silent movie adaptations of the celebrated author’s work. This ground-breaking book reveals the crucial role that Hollywood played in establishing Fitzgerald’s burgeoning reputation in the 1920s.

Prolific American film producer Amedee J. Van Beuren (1879-1938) did not start out in the film industry. After a decade spent in business and advertising, Van Beuren turned his intellect and creativity towards acquiring a foothold in film and began building his empire. He is best known to animation fans for his bizarre cartoons of the 1920s and 1930s, featuring such zanies as Molly Moo Cow, Cubby Bear and Tom and Jerry (not the cat-and-mouse duo). But the majority of the 1,499 films produced by Van Beuren between 1918 and 1937 were live-action short subjects--travelogues, comedies, musicals, sports reels and more. His roster of star performers included Bert Lahr, Shemp Howard, Ethel Waters and (indirectly) Charlie Chaplin. Van Beuren also made several feature films starring legendary big-game hunter Frank Buck, and a 12-episode serial headlining horror icon Lon Chaney, Jr. Capped by a complete list of his films, this engrossing chronicle of Amedee Van Beuren's vast output is the first all-inclusive history of one of moviedom's most successful and least-known filmmakers.

Even a brief comparison with its canonical counterparts demonstrates that the Gospel of Luke is preoccupied with the power of spoken words; still, words alone do not make a language. Just as music without silence collapses into cacophony, so speech without silence signifies nothing: silences are the invisible, inaudible cement that hold the entire edifice together. Though scholars across diverse disciplines have analyzed silence in terms of its contexts, sources, and functions, these insights have barely begun to make inroads in biblical studies. Utilizing conceptual tools from narratology and reader-response criticism, this study is an initial exploration of largely uncharted territory – the various ways that narrative intersections of speech and silences function together rhetorically in Luke’s Gospel. Considering speech and silence to be mutually constituted in intricate and inextricable ways, Dinkler demonstrates that attention to both characters’ silences and the narrator’s silences helps to illuminate plot, characterization, theme, and readerly experience in Luke’s Gospel. Focusing on both speech and silence reveals that the Lukan narrator seeks to shape readers into ideal witnesses who use speech and silence in particular ways; Luke can be read as an early Christian proclamation – not only of the gospel message – but also of the proper ways to use speech and silence in light of that message. Thus, we find that speech and silence are significant matters of concern within the Lukan story and that speech and silence are significant tools used in its telling.