San Francisco Silent Festival 2016

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"When I go to see silent films, I'm constantly struck how everything that was done in the sound era was done by a silent film artist...the silent era is complete."

Amazing on location photography in harsh environments...progressive films about controversial political women...groundbreaking special effects that dazzle with a flurry of colors. These films might sound like what showed up at the Oscars last year, but they were all made during the silent era. In his second trip to San Francisco's epic weekend of gems of the first decades of cinema, Peter once again finds himself in awe of the talent on display: whether it be the work of the archivists in discovering and restoring these prints, the cornucopia of musicians providing unique accompaniment, or the grand scale of the Castro Theatre itself. Silent Film devotee Victor Morton once again joins Peter as they tackle films from five countries with hobos, pie fights, cross-dressing, and split screens (take that, Brian De Palma!)

0:00-2:25 Opening
2:25-15:40 Varieté (E.A. Dupont, Germany, 1925)
16:14-25:38 Beggars of Life (William Wellman, USA, 1927)
26:05-37:20 The Battle of the Century (Clyde Brukman, USA, 1927)

38:06-41:42 Sponsorship Section

42:50-52:15 Restoring Napoleón with the Cinémathèque Française

53:17-1:03:42 I Don't Want To Be A Man (Ernst Lubitsch, Germnay, 1928)

1:05:06-1:15:43 The Strongest (Axel Lindblom and Alf Sjöberg, Sweeden, 1929)

1:16:19-1:28:36 Two Timid Souls (René Clair, France, 1928)

1:28:41-1:30:19 Close

Episode #63 - Lea Jacobs (Only Angels Have Wings)

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"These delicate tolerances, which are what produce a good pace for a film, are something that all film creators live with."

So often we spend our time thinking about what we see in movies, that it can be easy to forget that cinema is experienced through time, and that experience depends on a tempo. Professor Lea Jacobs at the University of Wisconsin, Madison, has been curious about how rhythm creates film, and her new book, Film Rhythm After Sound, attempts to answer what it meant for movies to not just take on sound in the 1930s, but work through new types of interactions between shots, gestures, edits, sounds, speeds, and more. Jacobs also discusses her work on theatrical stage acting in the 1910s, understanding the Production Code as an industry as opposed to just a censor board, and the importance of historical research as part of Madison's legendary film department. Finally, the two dive into Howard Hawks's masterpiece, Only Angels Have Wings, and  theorize a relationship between the film's rhythmic patterns and its unique relationship to sentiment. 

0:00-2:19 Opening

2:58-8:31  Establishing Shots - Bojack Horseman, Season 2
9:16-1:02:36 Deep Focus - Lea Jacobs

1:03:16-1:05:31 Mubi Sponsorship
1:06:45-1:20:14 Double Exposure - Only Angels Have Wings (Howard Hawks)

1:20:19-1:21:57 Close 

Lea Jacob's homepage for UW Madison.
Read her books: The Wages of Sin: Censorship and the Fallen Woman Film, Theatre to Cinema: Stage Pictorialism and the Early Feature Film, The Decline of Sentiment: American Film in the 1920s, and Film Rhythm After Sound: Technology, Music,and Performance.

Episode #23 - Gina Telaroli (Brigadoon)

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"The way we use cinema is changing, so the way we examine it should 

change to fit that a little bit more."

Many of Peter's guests have expressed their feelings about cinema through words. Gina Telaroli prefers images, both moving and still. The experimental filmmaker, image essay maker, and critic sits down with Peter for a very engaging conversation about her work and passion. The two dive into her frame-by-frame analysis of classic Hollywood films and the "unconscious cinema" she unlocks, as well as her obsession with Hollywood workmen Allan Dwan and William Wellman. Peter also gushes about Gina's films Traveling Light, and asks her numerous questions about what he sees as a spiritual work of cinema. Finally, Gina brings in Vincente Minnelli's Gene Kelly-Scottish set musical Brigadoon, a haunting work that both read as a metaphor for the magic and miracle that is cinema and 35mm.

0:00-1:08 Opening 

1:48-6:50 Establishing Shots - Computer Chess
7:02-9:05 Trivia Round

9:49-1:10:50 Deep Focus - Gina Telaroli

1:12:07-1:32:48 Double Exposure - Brigadoon (Vincente Minnelli)

1:32:50-1:34:29 Close

Visit Gina's Tumblr to find her videos, image essays, and writing.