Journal of Film Preservation - FIAF

Respuesta de Stephen Bottomore a
Gillian Anderson
En respuesta al artículo publicado en el
Journal of Film Preservation N° 57, Dic.
1998, Stephen Bottomore agradece a Gillian
Anderson por su defensa de la utilización de
partituras originales para películas mudas,
y reanudar de esta manera una antiguo
debate sobre el carácter silente - o no - de
las presentaciones de las películas Lumière y
sobre la utilización discutible, según él, de
los términos “películas mudas” y “películas
de los primeros tiempos” por la Sra. Gillian
Anderson.
Errata / Fe de erratas
1920). ‘Silent film’ by contrast, has come to mean the period of cinema
up to the late 1920s when synchronised sound was widely introduced.
Everyone knows that silent films often had a live sound accompaniment,
but everyone also knows that the film itself had no soundtrack running
along its edge. Hence the term ‘silent film’. Clear, simple, well-accepted
and self-explanatory. ‘When I use a word…it means just what I choose it
to mean - neither more nor less,’ said Humpty Dumpty, adding that,
‘adjectives you can do anything with’. Well, that way lies the Looking-
Glass world, and it is not a world we should enter. No-one should start
mucking about with the adjectives silent or early, because we all know
what the terms early film and silent film mean. Let us argue about more
important issues in film history, such as Ms Anderson’s interesting views
on scores. Not about the meanings of words.
Errata in Journal of Film Preservation #57
There were several editorial errors in the Journal of Film Preservation #57.
Please note the following errata and accept our apologies.
1. ‘The FIAF Nitrate Book - A Progress Report and an Appeal’
The discoveries concerning Murnau’s ‘Faust’ mentioned on page 47 of
JFP #57 were actually made by Martin Koerber, although they are erroneously
credited to Martin Loiperdinger in the article. Despite being
noted during the preparation of the publication, this error still slipped
through the final proofreading process. Apologies are extended to both
Martins for the mistake, and for any embarrassment it may have caused
them.
The cover photograph (of Anna May Wong and Sessue Hayakawa) in the
same issue is from Roger Smither’s private collection, not from the
Imperial War Museum.
2. ‘The Story of the Century! An International Newsfilm Conference’
The review of the above publication, which appeared anonymously on
pages 51-54 of JFP #57, was written by Iola Baines, Director of the
Wales Film and Television Archive, Aberystwyth. The name of the author
has however been mentioned on the back-cover.
3. On the back-cover, Hillel Tryster appears as being Deputy Director
and Researcher of the Steven Spielbergh Jewish Film Archive. This refers
of course to the Steven Spielberg Jewish Film Archive.
110 Journal of Film Preservation / 58/59 / 1999