Acting in silent film: Which legacy of the theatre?

  title={Acting in silent film: Which legacy of the theatre?},
  author={Peter Kramer and Alan Lovell},
4 Citations

June Mathis: The master class

This article examines June Mathis’s skill as a screenwriter with two case studies: adaptations of Vicente Blasco Ibáñez’s Blood and Sand and The Four Horsemen of the Apocalypse. In addition to her

The Cinematic Bergson: From Virtual Image to Actual Gesture

Deleuze’s film-philosophy makes much of the notion of virtual images in Bergson’s  Matter and Memory , but in doing so he transforms a psycho-meta-physical thesis into a (very) unBergsonian

Frankenstein and the Mute Figure of Melodrama

In 1823, Richard Brinsley Peake, a forgotten “hack” playwright, adapted Mary Shelley’s Frankenstein for the melodramatic stage and produced the image of the monster that has dominated since.