Introduction
Keywords:
silence, silent film, sound film, emotions, attractionsAbstract
The introduction outlines some general lines of reflection, which help frame the essays in the monographic section within a broader reasoning structure. In particular, it focuses on the relationship between emotion, affect, and silent film language, as well as on the synesthetic sound quality of the silent images from the early decades of cinema, in relation to the concept of ‘cinema of attractions’. Parallelly, the use of silence as a meaningful tool within sound cinema is also discussed. Finally, special attention is given to the great directors who are characterized by their ‘dual belonging’, that is, directors who have created significant works both before and after the divide between silent and sound cinema.
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