Дыбыссыз фильмдер тарихы

Motion pictures without synchronized recorded sound

A silent film is a film without synchronized recorded sound (or more generally, no audible dialogue). Though silent films convey narrative and emotion visually, various plot elements (such as a setting or era) or key lines of dialogue may, when necessary, be conveyed by the use of inter title cards. The term "silent film" is something of a misnomer, as these films were almost always accompanied by live sounds. During the silent era that existed from the mid 1890s to the late 1920s, a pianist, theater organist—or even, in larger cities, an orchestra—would play music to accompany the films. Pianists and organists would play either from sheet music, or improvisation. Sometimes a person would even narrate the inter title cards for the audience. Though at the time the technology to synchronize sound with the film did not exist, music was seen as an essential part of the viewing experience. "Silent film" is typically used as a historical term to describe an era of cinema prior to the invention of synchronized sound, but it also applies to such sound era films as City Lights, Modern Times and Silent Movie which are accompanied by a music only soundtrack in place of dialogue. The term silent film is a retronym—a term created to retroactively distinguish something from later developments. Early sound films, starting with The Jazz Singer in 1927, were variously referred to as the "talkies", "sound films", or "talking pictures". The idea of combining motion pictures with recorded sound is older than film (it was suggested almost immediately after Edison introduced the phonograph in 1877), and some early experiments had the projectionist manually adjusting the frame rate to fit the sound, but because of the technical challenges involved, the introduction of synchronized dialogue became practical only in the late 1920s with the perfection of the Audion amplifier tube and the advent of the Vitaphone system. Within a decade, the widespread production of silent films for popular entertainment had ceased, and the industry had moved fully into the sound era, in which movies were accompanied by synchronized sound recordings of spoken dialogue, music and sound effects. Most early motion pictures are considered lost owing to their physical decay, for the nitrate filmstock used in that era was extremely unstable and flammable. Additionally, many films were deliberately destroyed, because they had negligible remaining immediate financial value in that era. It has often been claimed that around 75 percent of silent films produced in the US have been lost, though these estimates are inaccurate due to a lack of numerical data.

Film projection mostly evolved from magic lantern shows, in which project images from handpainted glass slides were projected onto a wall or screen. After the advent of photography in the 19th century, still photographs were sometimes used. Narration of the showman was important in spectacular entertainment screenings and vital in the lecturing circuit. The principle of stroboscopic animation was well known since the introduction of the phenakistiscope in 1833, a popular optical toy, but the development of cinematography was hampered by long exposure times for photographic emulsions, until Eadweard Muybridge managed to record a chronophotographic sequence in 1878. After others had animated his pictures in zoetropes, Muybridge started lecturing with his own zoopraxiscope animation projector in 1880. The work of other pioneering chronophotograohers, including Étienne Jules Marey and Ottomar Anschütz, furthered the development of motion picture cameras, projectors and transparent celluloid film. Although Thomas Edison was keen to develop a film system that would be synchronised with his phonograph, he eventually introduced the kinetoscope as a silent motion picture viewer in 1893 and later "kinetophone" versions remained unsuccessful.

The art of motion pictures grew into full maturity in the "silent era" (1894 in film – 1929 in film). The height of the silent era (from the early 1910s in film to the late 1920s) was a particularly fruitful period, full of artistic innovation. The film movements of Classical Hollywood as well as French Impressionism, German Expressionism, and Soviet Montage began in this period. Silent filmmakers pioneered the art form to the extent that virtually every style and genre of film making of the 20th and 21st centuries has its artistic roots in the silent era. The silent era was also a pioneering one from a technical point of view. Three point lighting, the close up, long shot, panning, and continuity editing all became prevalent long before silent films were replaced by "talking pictures" or "talkies" in the late 1920s. Some scholars claim that the artistic quality of cinema decreased for several years, during the early 1930s, until film directors, actors, and production staff adapted fully to the new "talkies" around the mid 1930s. The visual quality of silent movies—especially those produced in the 1920s—was often high, but there remains a widely held misconception that these films were primitive, or are barely watchable by modern standards. This misconception comes from the general public's unfamiliarity with the medium, as well as from carelessness on the part of the industry. Most silent films are poorly preserved, leading to their deterioration, and well preserved films are often played back at the wrong speed or suffer from censorship cuts and missing frames and scenes, giving the appearance of poor editing. Many silent films exist only in second or third generation copies, often made from already damaged and neglected film stock. Traditional colorization processes ceased with the adoption of sound on film technology. Traditional film colorization, all of which involved the use of dyes in some form, interfered with the high resolution required for built in recorded sound, and were therefore abandoned. The innovative three strip technicolor process introduced in the mid 1930s was costly and fraught with limitations, and color would not have the same prevalence in film as it did in the silents for nearly four decades.

As motion pictures gradually increased in running time, a replacement was needed for the in house interpreter who would explain parts of the film to the audience. Because silent films had no synchronized sound for dialogue, onscreen inter titles were used to narrate story points, present key dialogue and sometimes even comment on the action for the audience. The title writer became a key professional in silent film and was often separate from the scenario writer who created the story. Inter titles (or titles as they were generally called at the time) "often were graphic elements themselves, featuring illustrations or abstract decorations that commented on the action".

Showings of silent films almost always featured live music starting with the first public projection of movies by the Lumière brothers on December 28, 1895, in Paris. This was furthered in 1896 by the first motion picture exhibition in the United States at Koster and Bial's Music Hall in New York City. At this event, Edison set the precedent that all exhibitions should be accompanied by an orchestra. From the beginning, music was recognized as essential, contributing atmosphere, and giving the audience vital emotional cues. Musicians sometimes played on film sets during shooting for similar reasons. However, depending on the size of the exhibition site, musical accompaniment could drastically change in scale. Small town and neighborhood movie theatres usually had a pianist. Beginning in the mid 1910s, large city theaters tended to have organists or ensembles of musicians. Massive theatre organs, which were designed to fill a gap between a simple piano soloist and a larger orchestra, had a wide range of special effects. Theatrical organs such as the famous "Mighty Wurlitzer" could simulate some orchestral sounds along with a number of percussion effects such as bass drums and cymbals, and sound effects ranging from "train and boat whistles [to] car horns and bird whistles;  some could even simulate pistol shots, ringing phones, the sound of surf, horses' hooves, smashing pottery, [and] thunder and rain". Musical scores for early silent films were either improvised or compiled of classical or theatrical repertory music. Once full features became commonplace, however, music was compiled from photoplay music by the pianist, organist, orchestra conductor or the movie studio itself, which included a cue sheet with the film. These sheets were often lengthy, with detailed notes about effects and moods to watch for. Starting with the mostly original score composed by Joseph Carl Breil for D. W. Griffith's epic The Birth of a Nation (1915), it became relatively common for the biggest budgeted films to arrive at the exhibiting theater with original, specially composed scores. However, the first designated full blown scores had in fact been composed in 1908, by Camille Saint Saëns for The Assassination of the Duke of Guise, and by Mikhail Ippolitov Ivanov for Stenka Razin. When organists or pianists used sheet music, they still might add improvisational flourishes to heighten the drama on screen. Even when special effects were not indicated in the score, if an organist was playing a theater organ capable of an unusual sound effect such as "galloping horses", it would be used during scenes of dramatic horseback chases. At the height of the silent era, movies were the single largest source of employment for instrumental musicians, at least in the United States. However, the introduction of talkies, coupled with the roughly simultaneous onset of the Great Depression, was devastating to many musicians. A number of countries devised other ways of bringing sound to silent films. The early cinema of Brazil, for example, featured fitas cantatas (singing films), filmed operettas with singers performing behind the screen. In Japan, films had not only live music but also the benshi, a live narrator who provided commentary and character voices. The benshi became a central element in Japanese film, as well as providing translation for foreign (mostly American) movies. The popularity of the benshi was one reason why silent films persisted well into the 1930s in Japan. Conversely, as benshi narrated films often lacked intertitles, modern day audiences may sometimes find it difficult to follow the plots without specialised subtitling or additional commentary.

Few film scores survived intact from the silent period, and musicologists are still confronted by questions when they attempt to precisely reconstruct those that remain. Scores used in current reissues or screenings of silent films may be complete reconstructions of compositions, newly composed for the occasion, assembled from already existing music libraries, or improvised on the spot in the manner of the silent era theater musician. Interest in the scoring of silent films fell somewhat out of fashion during the 1960s and 1970s. There was a belief in many college film programs and repertory cinemas that audiences should experience silent film as a pure visual medium, undistracted by music. This belief may have been encouraged by the poor quality of the music tracks found on many silent film reprints of the time. Since around 1980, there has been a revival of interest in presenting silent films with quality musical scores (either reworkings of period scores or cue sheets, or the composition of appropriate original scores). An early effort of this kind was Kevin Brownlow's 1980 restoration of Abel Gance's Napoléon (1927), featuring a score by Carl Davis. A slightly re edited and sped up version of Brownlow's restoration was later distributed in the United States by Francis Ford Coppola, with a live orchestral score composed by his father Carmine Coppola. In 1984, an edited restoration of Metropolis (1927) was released with a new rock music score by producer composer Giorgio Moroder. Although the contemporary score, which included pop songs by Freddie Mercury, Pat Benatar, and Jon Anderson of Yes, was controversial, the door had been opened for a new approach to the presentation of classic silent films. Today, a large number of soloists, music ensembles, and orchestras perform traditional and contemporary scores for silent films internationally. The legendary theater organist Gaylord Carter continued to perform and record his original silent film scores until shortly before his death in 2000; some of those scores are available on DVD reissues. Other purveyors of the traditional approach include organists such as Dennis James and pianists such as Neil Brand, Günter Buchwald, Philip C. Carli, Ben Model, and William P. Perry. Other contemporary pianists, such as Stephen Horne and Gabriel Thibaudeau, have often taken a more modern approach to scoring. Orchestral conductors such as Carl Davis and Robert Israel have written and compiled scores for numerous silent films; many of these have been featured in showings on Turner Classic Movies or have been released on DVD. Davis has composed new scores for classic silent dramas such as The Big Parade (1925) and Flesh and the Devil (1927). Israel has worked mainly in silent comedy, scoring the films of Harold Lloyd, Buster Keaton, Charley Chase, and others. Timothy Brock has restored many of Charlie Chaplin's scores, in addition to composing new scores. Contemporary music ensembles are helping to introduce classic silent films to a wider audience through a broad range of musical styles and approaches. Some performers create new compositions using traditional musical instruments, while others add electronic sounds, modern harmonies, rhythms, improvisation, and sound design elements to enhance the viewing experience. Among the contemporary ensembles in this category are Un Drame Musical Instantané, Alloy Orchestra, Club Foot Orchestra, Silent Orchestra, Mont Alto Motion Picture Orchestra, Minima and the Caspervek Trio, RPM Orchestra. Donald Sosin and his wife Joanna Seaton specialize in adding vocals to silent films, particularly where there is onscreen singing that benefits from hearing the actual song being performed. Films in this category include Griffith's Lady of the Pavements with Lupe Vélez, Edwin Carewe's Evangeline with Dolores del Río, and Rupert Julian's The Phantom of the Opera with Mary Philbin and Virginia Pearson. The Silent Film Sound and Music Archive digitizes music and cue sheets written for silent films and makes them available for use by performers, scholars, and enthusiasts.

Silent film actors emphasized body language and facial expression so that the audience could better understand what an actor was feeling and portraying on screen. Much silent film acting is apt to strike modern day audiences as simplistic or campy. The melodramatic acting style was in some cases a habit actors transferred from their former stage experience. Vaudeville was an especially popular origin for many American silent film actors. The pervading presence of stage actors in film was the cause of this outburst from director Marshall Neilan in 1917: "The sooner the stage people who have come into pictures get out, the better for the pictures." In other cases, directors such as John Griffith Wray required their actors to deliver larger than life expressions for emphasis. As early as 1914, American viewers had begun to make known their preference for greater naturalness on screen. Silent films became less vaudevillian in the mid 1910s, as the differences between stage and screen became apparent. Due to the work of directors such as D. W. Griffith, cinematography became less stage like, and the development of the close up allowed for understated and realistic acting. Lillian Gish has been called film's "first true actress" for her work in the period, as she pioneered new film performing techniques, recognizing the crucial differences between stage and screen acting. Directors such as Albert Capellani and Maurice Tourneur began to insist on naturalism in their films. By the mid 1920s many American silent films had adopted a more naturalistic acting style, though not all actors and directors accepted naturalistic, low key acting straight away; as late as 1927, films featuring expressionistic acting styles, such as Metropolis, were still being released. Greta Garbo, whose first American film was released in 1926, would become known for her naturalistic acting. According to Anton Kaes, a silent film scholar from the University of California, Berkeley, American silent cinema began to see a shift in acting techniques between 1913 and 1921, influenced by techniques found in German silent film. This is mainly attributed to the influx of emigrants from the Weimar Republic, "including film directors, producers, cameramen, lighting and stage technicians, as well as actors and actresses".

Until the standardization of the projection speed of 24 frames per second (fps) for sound films between 1926 and 1930, silent films were shot at variable speeds (or "frame rates") anywhere from 12 to 40 fps, depending on the year and studio. "Standard silent film speed" is often said to be 16 fps as a result of the Lumière brothers' Cinématographe, but industry practice varied considerably; there was no actual standard. William Kennedy Laury Dickson, an Edison employee, settled on the astonishingly fast 40 frames per second. Additionally, cameramen of the era insisted that their cranking technique was exactly 16 fps, but modern examination of the films shows this to be in error, and that they often cranked faster. Unless carefully shown at their intended speeds silent films can appear unnaturally fast or slow. However, some scenes were intentionally undercranked during shooting to accelerate the action—particularly for comedies and action films. or to fit a film into a prescribed time slot. Film speed is often a vexed issue among scholars and film buffs in the presentation of silents today, especially when it comes to DVD releases of restored films, such as the case of the 2002 restoration of Metropolis.

With the lack of natural color processing available, films of the silent era were frequently dipped in dyestuffs and dyed various shades and hues to signal a mood or represent a time of day. Hand tinting dates back to 1895 in the United States with Edison's release of selected hand tinted prints of Butterfly Dance. Additionally, experiments in color film started as early as in 1909, although it took a much longer time for color to be adopted by the industry and an effective process to be developed. Blue represented night scenes, yellow or amber meant day. Red represented fire and green represented a mysterious atmosphere. Similarly, toning of film (such as the common silent film generalization of sepia toning) with special solutions replaced the silver particles in the film stock with salts or dyes of various colors. A combination of tinting and toning could be used as an effect that could be striking. Some films were hand tinted, such as Annabelle Serpentine Dance (1894), from Edison Studios. In it, Annabelle Whitford, a young dancer from Broadway, is dressed in white veils that appear to change colors as she dances. This technique was designed to capture the effect of the live performances of Loie Fuller, beginning in 1891, in which stage lights with colored gels turned her white flowing dresses and sleeves into artistic movement. Hand coloring was often used in the early "trick" and fantasy films of Europe, especially those by Georges Méliès. Méliès began hand tinting his work as early as 1897 and the 1899 Cendrillion (Cinderella) and 1900 Jeanne d'Arc (Joan of Arc) provide early examples of hand tinted films in which the color was a critical part of the scenography or mise en scène; such precise tinting used the workshop of Elisabeth Thuillier in Paris, with teams of female artists adding layers of color to each frame by hand rather than using a more common (and less expensive) process of stenciling. A newly restored version of Méliès' A Trip to the Moon, originally released in 1902, shows an exuberant use of color designed to add texture and interest to the image. Comments by an American distributor in a 1908 film supply catalog further underscore France's continuing dominance in the field of hand coloring films during the early silent era. The distributor offers for sale at varying prices "High Class" motion pictures by Pathé, Urban Eclipse, Gaumont, Kalem, Itala Film, Ambrosio Film, and Selig. Several of the longer, more prestigious films in the catalog are offered in both standard black and white "plain stock" as well as in "hand painted" color. A plain stock copy, for example, of the 1907 release Ben Hur is offered for $120 ($120.0 in 1908 is equivalent to about <calculated amount> in recent years USD today), while a colored version of the same 1000 foot, 15 minute film costs $270 ($270.0 in 1908 is equivalent to about <calculated amount> in recent years) including the extra $150 coloring charge, which amounted to 15 cents more per foot. The first westerns were filmed at Fred Scott's Movie Ranch in South Beach, Staten Island. Actors costumed as cowboys and Native Americans galloped across Scott's movie ranch set, which had a frontier main street, a wide selection of stagecoaches and a 56 foot stockade. The island provided a serviceable stand in for locations as varied as the Sahara desert and a British cricket pitch. War scenes were shot on the plains of Grasmere, Staten Island. The Perils of Pauline and its even more popular sequel The Exploits of Elaine were filmed largely on the island. So was the 1906 blockbuster Life of a Cowboy, by Edwin S. Porter Company, and filming moved to the West Coast around 1912.

The following are American films from the silent film era that had earned the highest gross income as of 1932. The amounts given are gross rentals (the distributor's share of the box office) as opposed to exhibition gross. Title Year Director(s) Gross rental 191510,000,000 19256,400,000 Ben Hur19255,500,000 The Kid1921Charlie Chaplin5,450,000 Way Down East19205,000,000 City Lights19314,300,000 The Gold Rush1925Charlie Chaplin4,250,000 19283,800,000 19233,800,000 19233,500,000 19233,400,000Orphans of the Storm19213,000,000For Heaven's Sake19262,600,000The Road to Ruin1928Norton S. Parker2,500,0007th Heaven1928Frank Borzage2,500,000What Price Glory?19262,400,000Abie's Irish Rose19281,500,000

Several filmmakers have paid homage to the comedies of the silent era, including Charlie Chaplin, with Modern Times (1936), Orson Welles with Too Much Johnson (1938), Jacques Tati with Les Vacances de Monsieur Hulot (1953), Pierre Etaix with The Suitor (1962), and Mel Brooks with Silent Movie (1976). Taiwanese director Hou Hsiao hsien's acclaimed drama Three Times (2005) is silent during its middle third, complete with intertitles; Stanley Tucci's The Impostors has an opening silent sequence in the style of early silent comedies. Brazilian filmmaker Renato Falcão's Margarette's Feast (2003) is silent. Writer/director Michael Pleckaitis puts his own twist on the genre with Silent (2007). While not silent, the Mr. Bean television series and movies have used the title character's non talkative nature to create a similar style of humor. A lesser known example is Jérôme Savary's La fille du garde barrière (1975), an homage to silent era films that uses intertitles and blends comedy, drama, and explicit sex scenes (which led to it being refused a cinema certificate by the British Board of Film Classification). In 1990, Charles Lane directed and starred in Sidewalk Stories, a low budget salute to sentimental silent comedies, particularly Charlie Chaplin's The Kid. The German film Tuvalu (1999) is mostly silent; the small amount of dialog is an odd mix of European languages, increasing the film's universality. Guy Maddin won awards for his homage to Soviet era silent films with his short The Heart of the World after which he made a feature length silent, Brand Upon the Brain! (2006), incorporating live Foley artists, narration and orchestra at select showings. Shadow of the Vampire (2000) is a highly fictionalized depiction of the filming of Friedrich Wilhelm Murnau's classic silent vampire movie Nosferatu (1922). Werner Herzog honored the same film in his own version, Nosferatu: Phantom der Nacht (1979). Some films draw a direct contrast between the silent film era and the era of talkies. Sunset Boulevard shows the disconnect between the two eras in the character of Norma Desmond, played by silent film star Gloria Swanson, and Singin' in the Rain deals with Hollywood artists adjusting to the talkies. Peter Bogdanovich's 1976 film Nickelodeon deals with the turmoil of silent filmmaking in Hollywood during the early 1910s, leading up to the release of D. W. Griffith's epic The Birth of a Nation (1915). In 1999, the Finnish filmmaker Aki Kaurismäki produced Juha in black and white, which captures the style of a silent film, using intertitles in place of spoken dialogue. Special release prints with titles in several different languages were produced for international distribution. In India, the film Pushpak (1988), starring Kamal Haasan, was a black comedy entirely devoid of dialog. The Australian film Doctor Plonk (2007), was a silent comedy directed by Rolf de Heer. Stage plays have drawn upon silent film styles and sources. Actor/writers Billy Van Zandt and Jane Milmore staged their Off Broadway slapstick comedy Silent Laughter as a live action tribute to the silent screen era. Geoff Sobelle and Trey Lyford created and starred in All Wear Bowlers (2004), which started as an homage to Laurel and Hardy then evolved to incorporate life sized silent film sequences of Sobelle and Lyford who jump back and forth between live action and the silver screen. The animated film Fantasia (1940), which is eight different animation sequences set to music, can be considered a silent film, with only one short scene involving dialogue. The espionage film The Thief (1952) has music and sound effects, but no dialogue, as do Thierry Zéno's 1974 Vase de Noces and Patrick Bokanowski's 1982 The Angel. In 2005, the H. P. Lovecraft Historical Society produced a silent film version of Lovecraft's story The Call of Cthulhu. This film maintained a period accurate filming style, and was received as both "the best HPL adaptation to date" and, referring to the decision to make it as a silent movie, "a brilliant conceit". The French film The Artist (2011), written and directed by Michel Hazanavicius, plays as a silent film and is set in Hollywood during the silent era. It also includes segments of fictitious silent films starring its protagonists. It won the Academy Award for Best Picture. The Japanese vampire film Sanguivorous (2011) is not only done in the style of a silent film, but even toured with live orchestral accompaniment. Eugene Chadbourne has been among those who have played live music for the film. Blancanieves is a 2012 Spanish black and white silent fantasy drama film written and directed by Pablo Berger. The American feature length silent film Silent Life, which started in 2006 and features performances by Isabella Rossellini and Galina Jovovich, mother of Milla Jovovich, premiered in 2013. The film is based on the life of silent screen icon Rudolph Valentino, known as Hollywood's first "Great Lover". After emergency surgery, Valentino loses his grip on reality and begins to see the recollection of his life in Hollywood from a perspective of a coma – as a silent film shown at a movie palace, the magical portal between life and eternity, between reality and illusion. The Picnic is a 2012 short film made in the style of two reel silent melodramas and comedies. It was part of the exhibit, No Spectators: The Art of Burning Man, a 2018–2019 exhibit curated by the Renwick Gallery of the Smithsonian American Art Museum. The film was shown inside a miniature 12 seat Art Deco movie palace on wheels called The Capitol Theater, created by Oakland, Ca. art collective Five Ton Crane. Right There is a 2013 short film that is an homage to silent film comedies. The 2015 British animated film Shaun the Sheep Movie, based on Shaun the Sheep, was released to positive reviews and was a box office success. Aardman Animations also produced Morph and Timmy Time, as well as many other silent short films. The American Theatre Organ Society pays homage to the music of silent films, as well as the theatre organs that played such music. With over 75 local chapters, the organization seeks to preserve and promote theater organs and music as an art form. The Globe International Silent Film Festival (GISFF) is an annual event focusing on image and atmosphere in cinema which takes place in a reputable university or academic environment every year and is a platform for showcasing and judging films from filmmakers who are active in this field. In 2018, film director Christopher Annino shot the now internationally award winning feature silent film Silent Times. The film pays homage to many of the characters from the 1920s, including Officer Keystone, played by David Blair; Enzio Marchello who portrays a Charlie Chaplin character. Silent Times won best silent film at the Oniros Film Festival. Set in a small New England town, the story centers on Oliver Henry III (played by Westerly native Geoff Blanchette), a small time crook turned vaudeville theater owner. From humble beginnings in England, he immigrates to the US in search of happiness and fast cash. He becomes acquainted with people from all walks of life, from burlesque performers, mimes, hobos to classy flapper girls, as his fortunes rise and his life spins ever more out of control.

Dawson City, in the Yukon territory of Canada, was once the end of the distribution line for many films. In 1978, a cache of more than 500 reels of nitrate film was discovered during the excavation of a vacant lot formerly the site of the Dawson Amateur Athletic Association, which had started showing films at its recreation center in 1903. Works by Pearl White, Helen Holmes, Grace Cunard, Lois Weber, Harold Lloyd, Douglas Fairbanks, and Lon Chaney, among others, were included, as well as many newsreels. The titles were stored at the local library until 1929 when the flammable nitrate was used as landfill in a condemned swimming pool. Having spent 50 years under the permafrost of the Yukon, the reels turned out to be extremely well preserved. Owing to its dangerous chemical volatility, the historical find was moved by military transport to Library and Archives Canada and the US Library of Congress for storage (and transfer to safety film). A documentary about the find, Dawson City: Frozen Time, was released in 2016.

There are annual silent film festivals around the globe. Capitolfest, at the Capitol Theatre in Rome, New York. Kansas Silent Film Festival, at the Kansas City Music Hall in Kansas City, Missouri. San Francisco Silent Film Festival, at the Castro Theatre in San Francisco, California. Toronto Silent Film Festival, at the Fox Theatre in Toronto, Ontario. Festival d’Anères in Anères, France. Hippodrome Silent Film Festival in Falkirk, Scotland. Internationale Stummfilmtage (International Days of Silent Cinema), which is held every August in Bonn, Germany. Le Giornate del cinema muto (Pordenone Silent Film Festival), held annually in Pordenone, Italy. It is the first and largest international film festival dedicated to the preservation, dispersion, and study of silent film. Mykkäelokuvafestivaalit (International Silent Film Festival, Forssa) held in Forssa, Finland. Nederlands Silent Film Festival held in Eindhoven, Nederlands. The Slapstick Film Festival held in Bristol, UK. Stummfilm Festival Karlsruhe held in Karlsruhe, Germany.