tailieunhanh - OLD FILMS, NEW SOUNDS: SCREENING SILENT CINEMA WITH ELECTRONIC MUSIC

From 2004 to 2006 I taught an introductory film history course in the School for the Contemporary Arts at Simon Fraser University covering cinema’s first five decades. While approximately twenty-five percent of the students taking this course were enrolled in the department’s film production major and were actively creating their own 16mm films, the remain- ing students were largely taking the course out of personal interest or to fulfill requirements for other degrees. As such, the majority of students were not nec- essarily familiar with the technical differences between film and video, nor their variability in image quality. In order to demonstrate this distinction, a compari- son was undertaken. | BLAIR DAVIS OLD FILMS NEW SOUNDS SCREENING SILENT CINEMA WITH ELECTRONIC MUSIC Résumé Les diverses circonstances qui entourent le visionnement d un film dans un cours de cinéma influencent profondement la reaction des étudiants face à I reu-vre en question. Que ce soit I information fournie au sujet du film avant sa projection ou la qualité de la copie utilisée les choix de l instructeur peuvent avoir un impacte déterminant et parfois imprévu sur la réception du film. Cet article retrace les expériences d un instructeur qui a tenté d identifier les divers effets sur les étu-diants de la musique d accompagnement des films muets. Au cours d un vision-nement en particulier une musique d accompagnement électronique a été très efficace au près des étudiants. Cela a mené à une série d expériences pédagogiques visant à déterminer si les étudiants répondent aux films muets plus favorablement si l accompagnement est moderne plutôt que traditionnel. Cette recherche a été entreprise non seulement pour répondre à mon propre besoin d améliorer mes méthodes d enseignement mais aussi pour fournir un modèle à d autres instruc-teurs qui veulent diversifier leurs facons de presenter des films muets. One of the simplest demonstrations that a film studies instructor can undertake in the classroom involves familiarizing students with the difference between film and video projection. From 2004 to 2006 I taught an introductory film history course in the School for the Contemporary Arts at Simon Fraser University covering cinema s first five decades. While approximately twenty-five percent of the students taking this course were enrolled in the department s film production major and were actively creating their own 16mm films the remaining students were largely taking the course out of personal interest or to fulfill requirements for other degrees. As such the majority of students were not necessarily familiar with the technical differences between film and video nor their variability in

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