Date: Mon, 28 Feb 2000 11:31:13 -0500
From: Ron Hoffman <hoffmanr-AT-nku.edu>
Subject: Re: today's film students


I guess I'll jump into this discussion.

I have found that using the Robert Enrico Occurence at Owl Creek Bridge is
a good way to focus student attention on the visual aspects of a film.
After all, it is essentially a silent film, although its use of music and
sound effects is important to the meaning of the film.

Also, lots of silent classics are being reissued from good to high quality
prints and with new musical scores.  The Passion of Joan of Arc with
Richard Einhorn's score is a case in point.  I think it's important to
expose the student to the best "looking" version of a silent film as is
available (DVD?).  A good, hi fi score can also make a difference.  No more
Video Yesteryears with Rosa Rio on the Hammond organ!

Ron Hoffman

At 06:22 PM 02/25/2000 -0500, you wrote:
>My suggestion would be to show first a contemporary sound film without the 
>sound,
>so that students would begin to understand how much of a crutch the 
>soundtrack is
>in 99% of today's films. Then show them a well-made silent film.
>Bruce McPherson
>
>Reni Celeste wrote:
>
>> Agreed. What my own teaching experience demonstrated was that it had little
>> to do with cutting styles. Eisenstein was bashed across the board. I think
>> for those without an established relationship to early cinema it can be
>> difficult to appreciate, regardless of generation. In introductory courses
>> most students are either non film majors or very early in their training.
>> Many of my students are viewing silent films for first time. Do you have any
>> suggestions for how to introduce these films to such an audience? I teach
>> the course again this summer and am trying to get feedback from students
>> themselves.
>>
>> r
>>
>> ----------
>> >From: Cecilia and Ethan Gunning <gunza-AT-slip.net>
>> >To: film-theory-AT-lists.village.virginia.edu
>> >Subject: RE: today's film students
>> >Date: Fri, Feb 25, 2000, 12:52 PM
>> >
>>
>> > I think this is a silly stereotype of today's students. I am an
>> > undergraduate film student and there is nothing better than watching
>> > Dreyer's Day of Wrath, Murnau's Sunrise, or early Wim Wenders (Kings
of the
>> > Road). These films are captivating. I love the more frequent cut as
well. I
>> > think there is a place for both styles. What does Miami Vice have to do 
>with
>> > anything? I find it a strange notion that a bad television series with Don
>> > Johnson has any influence on my viewing preference today. Besides,
>> > Eisenstein had just as many frequent cuts as any MTV video. In fact the
>> > French writer Jean Epstein was complaining about the overuse of frequent
>> > cuts in the 1920's. Give the film students more credit!
>> > Sincerely,
>> > Ethan Gunning
>> > film student
>> >
>> >> -----Original Message-----
>> >> From: owner-film-theory-AT-lists.village.virginia.edu
>> >> [mailto:owner-film-theory-AT-lists.village.virginia.edu]On Behalf Of
>> >> Erstarr-AT-aol.com
>> >> Sent: Friday, February 25, 2000 9:07 AM
>> >> To: film-theory-AT-lists.village.virginia.edu
>> >> Subject: Re: (no subject)
>> >>
>> >>
>> >> I teach a variety of analytic film courses and I'm amazed that
>> >> students find
>> >> not only silent films but much later works boring.  Mayabe it's just the
>> >> breed of students we have, but they sleep through screwball
>> >> classics and find
>> >> John Cassavetes stultifying.  I'm convinced it's having come of
>> >> age after the
>> >> emergence of MTV and MIAMI VICE, with the frequent cuts and
>> >> pounding music.
>> >>
>> >>
>> >>      --- from list film-theory-AT-lists.village.virginia.edu ---
>> >>
>> >
>> >
>> >
>> >      --- from list film-theory-AT-lists.village.virginia.edu ---
>>
>>      --- from list film-theory-AT-lists.village.virginia.edu ---
>
>
>
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