1921
The Phantom Carriage (Sweden: Victor Sjöström, 1921: 93 mins)
Battaglia, Andy. "The Metal Beast: A most unorthodox Victor Sjöström remix." Film Comment (May/June 2012)
O'Donaghue, Darragh. "The Phantom Carriage." Senses of Cinema #56 (2010)
1922
Dr. Mabuse: The Gambler (Germany: Fritz Lang, 1922: 242 mins)
Mushett, Travis. "1.2 Villains: Nosferatu, Dr. Mabuse the Gambler, and the Timeliness of Terror." The Haunted Screen (August 17, 2022) ["In 1922, a pair of diabolical creatures arrived on German movie screens. What can the vampire Count Orlok and the supercriminal Dr. Mabuse teach us about the fears and fantasies lurking in the Weimar imagination?"]
Rappoport, Mark. "The Empty Screen." Talkhouse (Posted on Youtube: February 7, 2017) ["The screen is a neutral element in the film-going experience. Or is it? It projects dreams but is also the receptacle of our dreams. It’s the vehicle for delivering the image to an audience — but does it also watch the audience at the same time? Is it a complicitous membrane which audience members can penetrate and which interacts with the spectators, despite its seeming passivity? Maybe — to all of the above …"]
Anderson, Gillian. "Häxan: About the Music." Current (October 15, 2001)
Fujiwara, Chris. "Häxan." Current (October 15, 2001)
Wilkins, Budd. "Birthing Bad: Lars Von Trier’s Antichrist Through the Lens of “Nordic Horror." Acidemic #7 (2012)
Nanook of the North (USA/France: Robert J. Flaherty, 1922: 79 mins)
Duncan, Dean W. "Nanook of the North Current (January 11, 1999)
LoBrutto, Vincent. "Roots of the Documentary Film: Nanook of the North." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 203-209. [BCTC Library: PN1994 L595 2005]
1923
Where the North Begins (USA: Chester M. Franklin, 1923: 60 mins)
Daseler, Graham. "The Fall of the House of Warner: The Warner Brothers." Bright Lights Film Journal #82 (November 2013)
1924
The Last Laugh (Germany: F.W. Murnau, 1924: 90 mins)
Brockmann, Stephen. "Der letzte Mann (1924) or Learning to Move." A Critical History of German Film Rochester, NY: Camden House, 2010: 71-79. [Professor has copy of the book]
Sherlock Jr. (USA: Buster Keaton, 1924: 45 mins)
Rappoport, Mark. "The Empty Screen." Talkhouse (Posted on Youtube: February 7, 2017) ["The screen is a neutral element in the film-going experience. Or is it? It projects dreams but is also the receptacle of our dreams. It’s the vehicle for delivering the image to an audience — but does it also watch the audience at the same time? Is it a complicitous membrane which audience members can penetrate and which interacts with the spectators, despite its seeming passivity? Maybe — to all of the above …"]
1925
Battleship Potemkin (Soviet Union: Sergei M. Eisenstein, 1925: 66 mins)
LoBrutto, Vincent. "Editing--Russian Montage: Battleship Potemkin." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 26-32. [BCTC Library: PN1994 L595 2005]
The Freshman (USA: Fred Newmeyer and Sam taylor, 1925: 76 mins)
Bochenek, Annette. "The Criterion Blogathon: The Freshman (1925)." Hometowns to Hollywood (November 16, 2015)
The Unholy Three (USA: Tod Browning, 1925: 86 mins)
Bradley, S.A. and James Hancock. "A Good Cast is Worth Repeating, Part II: Tod Browning." Hellbent for Horror #31 (January 26, 2017)
1926
The Adventures of Prince Achmed (Germany: Lotte Reiniger and Carl Koch, 1926: 81 mins)
Stratton, Catherine. "We Owe a Lot to Lotte Reiniger: Her enduringly beautiful early animation was at once traditional and trailblazing." Keyframe (March 16, 2017)
LoBrutto, Vincent. "Period Comedy: The General." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 158-163. [BCTC Library: PN1994 L595 2005]
1927
The Jazz Singer (USA: Alan Crosland, 1927: 88 mins)
Daseler, Graham. "The Fall of the House of Warner: The Warner Brothers." Bright Lights Film Journal #82 (November 2013)
London After Midnight (USA: Tod Browning, 1927: 69 mins)
Bradley, S.A. and James Hancock. "A Good Cast is Worth Repeating, Part II: Tod Browning." Hellbent for Horror #31 (January 26, 2017)
Napolean (France: Abel Gance, 1927: 240 mins)
Brownlow, Kevin and Carl Davis. "How We Made -- Napolean." The Guardian (November 29, 2013)
Cuff, Paul. "Experiential Art: Musical performance, live cinema, and Abel Gance’s Napoléon." Alternate Takes (February 13, 2014)
Sunrise (USA: F.W. Murnau, 1927: 94 mins)
"#12: Sunrise." Arts and Faith Top 100 Films (2011)
The Unknown (USA: Tod Browning, 1927: 63 mins)
Director Tod Browning drew inspiration for several films from his days with travelling carnivals, working alternately as a barker, a clown, The Wild Man of Borneo and The Living Corpse. While Freaks (1932) is the most famous of his depictions of sideshow life, The Unknown is just as bizarre, with multiple twists that still have the power to shock. Lon Chaney’s tortured performance as Alonzo the Armless is among his greatest, and co-star Joan Crawford – here a luminous ingenue in one of her first lead roles – said she learned how to act by watching him. Chaney and Browning would ultimately collaborate on 10 films, and while it’s said that each of their finest works were outside of that collaboration, this is undoubtedly the best film they made together. – Kelly Robinson
Bradley, S.A. and James Hancock. "A Good Cast is Worth Repeating, Part II: Tod Browning." Hellbent for Horror #31 (January 26, 2017)
1928
The Crowd (USA: King Vidor, 1928: 98 mins)
Glick, Joshua. "Teaching The Crowd." Cine-Files #13 (Fall 2017)
LoBrutto, Vincent. "Shot Structure: The Crowd." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 92-97. [BCTC Library: PN1994 L595 2005]
Our Dancing Daughters (USA: Harry Beaumont, 1928: 85 mins)
The Passion of Joan of Arc (France: Carl Theodor Dreyer, 1928: 110 mins)
Danish Film Institute. "The Passion of Joan of Arc." Carl Th Dreyer: The Man and His Work (2011)
Greydanus, Steven. #1: The Passion of Joan of Arc." Arts & Faith Top 100 Films (2011)
LoBrutto, Vincent. "The Close Up: The Passion of Joan of Arc." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 222-228. [BCTC Library: PN1994 L595 2005]
West of Zanzibar (USA: Tod Browning, 1928: 65 mins)
Bradley, S.A. and James Hancock. "A Good Cast is Worth Repeating, Part II: Tod Browning." Hellbent for Horror #31 (January 26, 2017)
1929
Love Parade (USA: Ernst Lubitsch, 1929: 107 mins)
Char, Jessie and Arik Devens. "Love Parade." Cinema Gadfly #5 (ND)
Naremore, James. "Film Acting and the Arts of Imitation." Cyncos 27.2 (2011) ["Louise Brooks once said that in order to become a star, an actor needs to combine a natural-looking behavior with personal “eccentricity.” My presentation will explore some of the analytical problems raised by this phenomenon: What constitutes eccentricity and how is it balanced by naturalness in specific cases? What happens when a movie star acts in a film in which he or she impersonates the eccentricities of another star (Larry Parks as Al Jolson, Clint Eastwood as John Huston, Cate Blanchett as Bob Dylan, Meryl Streep as Julia Child, etc.)? How can we distinguish between impersonation as caricature and impersonation as dramatic illusion? What is the difference, if any, between impersonation and stylistic influence?"]
Man with a Movie Camera (Soviet Union: Dziga Vertov, 1929: 68 mins)
LoBrutto, Vincent. "Self-Referential Cinema: The Man with a Movie Camera." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 190 -195. [BCTC Library: PN1994 L595 2005]
Pandora's Box (Germany: Georg Wilhelm Pabst, 1929: 133 mins)
Hoberman, J. "Opening Pandora's Box." Current (November 27, 2006)
1928
The Crowd (USA: King Vidor, 1928: 98 mins)
Glick, Joshua. "Teaching The Crowd." Cine-Files #13 (Fall 2017)
LoBrutto, Vincent. "Shot Structure: The Crowd." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 92-97. [BCTC Library: PN1994 L595 2005]
Our Dancing Daughters (USA: Harry Beaumont, 1928: 85 mins)
Longworth, Karina. "Six Degrees of Joan Crawford: The Flapper and Douglas Fairbanks Jr." You Must Remember This (August 15, 2016) ["Joan Crawford’s early years in Hollywood were like -- well, like a pre-code Joan Crawford movie: a highly ambitious beauty of low birth does what she has to do (whatever she has to do) to transform herself into a well-respected glamour gal at the top of the food chain. Her romance with Douglas Fairbanks Jr -- the scion of the actor/producer who had been considered the King of Hollywood since the early days of the feature film -- began almost simultaneous to Crawford’s breakout hit, Our Dancing Daughters. But the gum-snapping dame with the bad reputation would soon rise far above her well-born husband, cranking out a string of indelible performances in pre-code talkies before hitting an early career peak in the Best Picture-winning Grand Hotel."]
Danish Film Institute. "The Passion of Joan of Arc." Carl Th Dreyer: The Man and His Work (2011)
Greydanus, Steven. #1: The Passion of Joan of Arc." Arts & Faith Top 100 Films (2011)
LoBrutto, Vincent. "The Close Up: The Passion of Joan of Arc." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 222-228. [BCTC Library: PN1994 L595 2005]
West of Zanzibar (USA: Tod Browning, 1928: 65 mins)
Bradley, S.A. and James Hancock. "A Good Cast is Worth Repeating, Part II: Tod Browning." Hellbent for Horror #31 (January 26, 2017)
1929
Love Parade (USA: Ernst Lubitsch, 1929: 107 mins)
Char, Jessie and Arik Devens. "Love Parade." Cinema Gadfly #5 (ND)
Naremore, James. "Film Acting and the Arts of Imitation." Cyncos 27.2 (2011) ["Louise Brooks once said that in order to become a star, an actor needs to combine a natural-looking behavior with personal “eccentricity.” My presentation will explore some of the analytical problems raised by this phenomenon: What constitutes eccentricity and how is it balanced by naturalness in specific cases? What happens when a movie star acts in a film in which he or she impersonates the eccentricities of another star (Larry Parks as Al Jolson, Clint Eastwood as John Huston, Cate Blanchett as Bob Dylan, Meryl Streep as Julia Child, etc.)? How can we distinguish between impersonation as caricature and impersonation as dramatic illusion? What is the difference, if any, between impersonation and stylistic influence?"]
LoBrutto, Vincent. "Self-Referential Cinema: The Man with a Movie Camera." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 190 -195. [BCTC Library: PN1994 L595 2005]
Pandora's Box (Germany: Georg Wilhelm Pabst, 1929: 133 mins)
Hoberman, J. "Opening Pandora's Box." Current (November 27, 2006)
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