<i>Nosferatu</i>’s Gesture. Ciné-kinesis in the Silent Era, East and West by Eric Rauth

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Early Cinema in Lithuania: The Emergence of a Cultural Tradition by Paškauskas Juozapas

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Gli archivi della musica cinematografica in Italia: uno strumento indispensabile per la ricerca, la prassi esecutiva e la divulgazione by Roberto Calabretto

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On Finding Hidden Figures: by Denise Youngblood

Subjects: “…Evgenii Bauer; Aleksandr Drankov; Natascha Drubek; Iakov Protazanov; Aleksandr Shiriaev; Russian Empire; Pordenone Silent Film Festival; cinema history; historiography; canon; film…”
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Manuel Rodríguez y el húsar en el cine: un discurso histórico sin historiadores by Tomás Cornejo Cancino

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“THE RACKED PIANOFORTE” AND “THE GREAT SILENT CINEMA” / «ЗАТРАВЛЕННОЕ ФОРТЕПИАНО» И «ВЕЛИКИЙ НЕМОЙ» by BORODIN BORIS B. / БОРОДИН Б.Б.

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Työtä ja työttömyyttä. Elokuvateatterien muusikot 1930-luvun vaihteen Turussa by Janne Mäkelä

“…Playing accompanying music for silent films was one of the most important sources of income for musicians in the late 1920s. …”
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YouTube come medium generazionale. Figure, pratiche, casi by Alberto Brodesco

“…Although it hosts silent films, Calimero episodes and MTV music videos, YouTube is often described as a “generational medium”. …”
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Is there a time for Alice Guy? by Marie Kondrat

“…Considering this hypothesis in a double perspective of erasing and of rewriting film history, the paper provides a close analysis of three silent films directed by Alice Guy in 1912–1913. Thus, the relation of shot composition and narrative, active intervention and irruption of outside elements are taken up in detail.…”
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Possible sensations by Shin, Yae Jin

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Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx by Marie Ventura

“…The Marx Brothers burst into cinema during Hollywood’s transition from silent films to talkies—a transition essential to the effective translation of Harpo’s character from stage to screen. …”
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MEDIAMUSIC ORIGINS by Chernyshov Alexander V.

“…In the early twentieth century, a clear prototype of mediamusic playing by the music of "silent" films, which has been divided on the on-screen and offscreen sound layers, the method of compilation, the basics of synchronization between musical sound and off-music montage-structures. …”
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Remixologia, live performance e software culture: Remix the Cinema. Intervista a Luca Acito e Alberto Casati by Mirko Lino

“…The main objects of Remix the Cinema are silent films, especially those of the 1920s. Cinema masterpieces as The Cabinet of Dr. …”
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The impact of sound technology on the distribution of shot lengths in Hollywood cinema, 1920 to 1933 by Nick Redfern

“…The impact of sound technology on Hollywood is analysed through looking at the median shot lengths of silent films from the 1920s (n = 54) and early sound films (n = 106). …”
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John Lanchbery, Christopher Caliendo and Film Music History: A Comparison between two Modern Scores (1997 and 2007) for John Ford’s 1924 Silent Epic Western, The Iron Horse by Raphaëlle Costa de Beauregard

“…The musical accompaniment of silent films is still a relevant issue today, as the vogue of “ciné-concerts” proves. …”
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Authenticity on the silver screen by Hedvig Mårdh

“…The three silent films 'Gustaf III och Bellman' (1908), 'En afton hos Gustaf III på Stockholms slott' and 'Två konungar' (1925) are illuminating examples of how the Gustavian period was reinvented, negotiated and visualized at the beginning of the twentieth century. …”
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La música en las representaciones de lo latinoamericano en los primeros filmes hollywoodenses con sonido incorporado (1927-1932) by Juan Carlos Poveda

“…The rapid transition from the so-called “silent films” to the “sound films”, that took place in the late 1920s, raises questions and speculations related to the decisions and negotiations faced by musical directors, composers and arrangers of Hollywood when defining how to musically characterize Latin America. …”
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The great war and the cinema by Tom Burns

“…The period films are useful for their clues to public attitudes during or in the decades immediately after the conflict. For example, silent films made during the war, like D.W. Griffith’s Hearts of the World (1918), which used actual footage, were propaganda evidently intended to induce the United States to progress from economic assistance to active military participation on the side of the Allies. …”
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“Such is the Custom in VGIK.” Annotated Catalogue of Early Films from the Archive of Irina Zhigalko (part 3) by Krasnova, G. V

“…The films that have been included in the annotated filmographic sheets published in Telekinet cannot be found in the well-known catalogues of silent films published in Russia to date. The published films are provided with annotations that allow you to get an impression of the topics and genres that are in demand among the audience. …”
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“Such is the Custom in VGIK.” Annotated Catalogue of Early Films from the Archive of Irina Zhigalko (part 2) by Krasnova, G. V

“…The films that have been included in the annotated filmographic sheets published in Telekinet cannot be found in the well-known catalogues of silent films published in Russia to date. The published films are provided with annotations that allow you to get an impression of the topics and genres that are in demand among the audience. …”
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