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#silentfilm

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🎬 Am Mittwoch, den 14. Mai 2025, ist um 19.00 Uhr G. W. Pabsts “Tagebuch einer Verlorenen” (D 1929) mit Livemusik von Natalie Böttcher (Akkordeon) im Murnau-Filmtheater in Wiesbaden zu erleben. Mehr Infos unter stummfilm-magazin.de/termintip
#stummfilmmagazin #stummfilm #silentfilm #silentmovie #kino #film #kinoprogramm #filmerbe #wiesbaden #murnaufilmtheater #louisebrooks #tagebucheinerverlorenen #GWPabst

I've just edited together another soundtrack from modern creative commons tracks for an old silent film, this time for a cult surreal short. You can watch it on PeerTube at:

🍿 The Fall of the House of Usher (1928)
fedi.video/w/kjjkKYs1k8jZunu8s

You can also check out my previous modern soundtrack edits for silent films:

🍿 Wings (1927)
fedi.video/w/mnxJLqxaS9yejUAnZ

🍿 The Phantom of the Opera (1925)
fedi.video/w/xAuNMvv5h2qVqtLn5

My personal favourite of these is "Wings", especially once you get to the main part of the story.

cc @silentfilm

Replied in thread

@ErickaSimone
@blogdiva
Meant to recommend this 🎥 when I saw it from @ajroach42

The Flying Ace (1926)

The flying ace is a silent film directed by Richard E. Norman with an all African-American cast. The film concerns itself with a series of crimes plaguing a railway, investigated by the railway's house detective who had recently returned home from serving as a pilot in the First World War

vod.newellijay.tv/w/pp6KTs7WiV

Their great thread 🧵
retro.social/@ajroach42/113288 🍿
#Black #SilentFilm #Movies

🎬 Am Samstag, den 29. März 2025, ist um 20:00 Uhr “City Girl" (USA 1930) im Filmmuseum Düsseldorf mit Livemusik von Wilfried Kaets (Klavier und historische Welte-Kinoorgel) zu erleben. Mehr Infos unter: stummfilm-magazin.de/aktuelles
#stummfilmmagazin #stummfilm #stummfilme #silentfilm #silentfilms #silentmovie #silentmovies #kino #film #kinoprogramm #filmerbe #düsseldorf #filmmuseum #stummfilmkonzert #fwmurnau #citygirl

"The fast and pronounced editing style generates a form of expressionist editing that communicates individual and mass neuroses and sexual desire. The result, to borrow a phrase from Béla Balázs, conveys the crowd’s most 'expressive expression'. Put another way, here is editing that 'grasps what is behind' the characters and rips them frenetically to the surface."

Bernard McCarron, Le Brasier ardent (1923): Ivan Mosjoukine's clin d'oeil to German Expressionism.