{"id":25889,"date":"2025-10-07T07:32:39","date_gmt":"2025-10-07T05:32:39","guid":{"rendered":"https:\/\/www.giornatedelcinemamuto.it\/?p=25889"},"modified":"2025-10-07T15:35:58","modified_gmt":"2025-10-07T13:35:58","slug":"un-appello-contro-la-guerra-levento-speciale-di-meta-festival-con-materiali-dellimperial-war-museum-di-londra","status":"publish","type":"post","link":"https:\/\/www.giornatedelcinemamuto.it\/en\/un-appello-contro-la-guerra-levento-speciale-di-meta-festival-con-materiali-dellimperial-war-museum-di-londra\/","title":{"rendered":"THE MIDWEEK SPECIAL EVENT: A CALL AGAINST WAR WITH MATERIALS FROM THE IMPERIAL WAR MUSEUM OF LONDON"},"content":{"rendered":"

THE GERMAN RETREAT AND BATTLE OF ARRAS<\/em><\/strong><\/span><\/p>\n

AND<\/strong><\/span><\/p>\n

PALESTINE \u2013 A REVISED NARRATIVE<\/em><\/strong>\u00a0 <\/strong><\/span><\/p>\n

Programme for Wednesday 8 October 2025 at Pordenone\u2019s Teatro Verdi<\/strong><\/span><\/p>\n

<\/span><\/p>\n

The current age of sorcerers\u2019 apprentices summoning scenarios of war served as the inspiration for the special event<\/strong> of the Silent Film Festival on Wednesday 8 October<\/strong> at 9\u00a0p.m. at Teatro Verdi<\/u>.<\/span><\/p>\n

The German Retreat and Battle of Arras<\/em><\/strong> documents the British Army\u2019s great offensive on the Western front during the Easter period in 1917. This third instalment in a trilogy of official films on the French and Belgian campaigns was the most visually successful, as evidenced by the new digital restoration undertaken in a collaboration between the London Imperial War Museum<\/strong> (IWM) and the University of Udine<\/strong>.<\/span><\/p>\n

The images of the Battle of Arras were filmed by four operators lead by Capitan J.C. Faunthorpe, officer of the military intelligence directorate and military director of the official cinematographers. An unusual feature of this documentary is its use of colour: hand coloured sections and red intertitles spotlight explosions while, to underscore realistic naturalism, blue is used for the river and sky, and brown for the ground. The score by British composer Laura Rossi<\/strong> for choir and chamber ensemble was inspired by poetry and texts written by soldiers who fought in the battle. She also arranged a number of war songs. In the film\u2019s closing credits, we hear the recorded voice of a soldier talking about the songs he and his comrades sang, eventually breaking into song with these words: \u201cWhen this wicked war is over\u201d. Rossi\u2019s score will be performed by Orchestra da Camera di Pordenone<\/strong> and Coro del Friuli Venezia Giulia<\/strong> directed by Andrej Gori\u010dar<\/strong>.<\/span><\/p>\n

While the following programme remains during the WWI period, it takes us to a land that is currently suffering the most tragic time of its history. Palestine \u2013\u00a0A Revised Narrative <\/strong>is based on a montage of film clips from digitised newsreels filmed in Palestine between 1914 and 1918, and graciously provided by the Imperial War Museum<\/strong>. The live musical accompaniment was created by multi-award-winning Lebanese musician Cynthia Zaven<\/strong>, who combines performance and archival materials to explore the relationship between sound, memory and identity through interwoven narrations. Rana Eid<\/strong> collaborated with her on sound design. Known for her participation in major productions as well as in independent films, Eid is considered the most important sound designer in the Arab world. This performance at the festival is an Italian premiere<\/strong>.<\/span><\/p>\n

At 10\u00a0a.m.<\/u>, as part of \u201cThe Chaplin Connection\u201d retrospective, the festival presents \u201cThe Other Chaplin\u201d, i.e. \u00a0Charlie Chaplin\u2019s brother Syd<\/strong>, who stars in Giddy, Gay and Ticklish<\/em><\/strong>, from 1915.<\/span><\/p>\n

We find him again in the following The Bond<\/em><\/strong>, filmed and financed by Charlie Chaplin in 1918 to promote American war bonds during WWI. In addition to Charlie himself, this short features Edna Purviance<\/strong>, Albert Austin<\/strong> and Syd<\/strong> Chaplin, <\/strong>and begins with a series of vignettes illustrating the bonds of friendship, love and marriage shot in a minimalist style which, as David Robinson\u2019s wrote \u201cgave this curious film a proto-Expressionist look\u201d. \u201cThe Other Chaplin\u201d also features Syd Chaplin\u2019s only film produced by British International Pictures, A Little Bit of Fluff<\/em><\/strong> from 1928, a screen adaptation of a popular play by Walter W. Ellis directed by Jess Robbins<\/strong> and Wheeler Dryden<\/strong>. After this film, Charlie Chaplin\u2019s elder brother\u2019s film career was effectively ended by scandal.<\/span><\/p>\n

At noon<\/u>, Italia Almirante Manzini<\/strong> will be on screen in L’innamorata<\/em><\/strong> from 1920, directed by Gennaro Righelli<\/strong> and with a screenplay by Augusto Genina<\/strong>. The original title submitted to censors \u2013 L\u2019orizzontale \u2013 <\/em>was rejected, and permission was granted only if \u201call scenes of excessive sensuality or immorality, as well as any vulgar words in the intertitles\u201d were removed. Here, Italia Almirante Manzini plays a capricious and unscrupulous \u2018man-eater\u2019, addicted to being a pleasure-loving socialite. She is also a woman of her times: shown in L\u2019innamorata<\/em> behind the wheel of a car, drinking alcohol and smoking. L\u2019innamorata <\/em>was a hit with audiences and and critics alike, including the British press.<\/span><\/p>\n

Die Dame mit der Maske<\/em><\/strong> (GB: The Lady With the Mask<\/em>, 1928), a German production directed by Wilhelm Thiele<\/strong> and presented at 2.30 p.m.<\/u> in the Rediscoveries section, also encountered problems with censorship. The film is notable for its criticism of the male gaze on women’s bodies. The audience is led to sympathise with the protagonist, who cannot escape the lewd stares of the men watching her dance.<\/span><\/p>\n

Also noteworthy in Tuesday\u2019s programme is Louis Feuillade<\/strong>, master of serials. While we rarely associate his name with slapstick comedy, he actually cut his teeth directing gag reels at Gaumont in 1907. This year\u2019s festival presents a few examples of Feuillade\u2019s comic films, including L’homme aimant\u00e9 <\/em><\/strong>(The Magnetized Man) of 1907 and Lysistrata ou la gr\u00e8ve des baisers<\/em><\/strong> (Lysistrata, or, The Cessation of Kisses) from 1910, based on Aristophanes\u2019 famous comedy and starring the great Parisian actress, Alice Tissot<\/strong>. In Feuillade\u2019s version, the women decide to withhold their kisses to end the Peloponnesian War, whereas Aristophanes specifically states that they go on a sex strike. However, the biggest surprise is Lagourdette gentleman cambrioleur<\/em><\/strong> (Lagourdette Gentleman Thief) from 1916, a parody of Feuillade\u2019s Les Vampires<\/em> that stars the same serial actors, Musidora<\/strong> and Marcel L\u00e9vesque<\/strong>, and co-stars \u201cNasty Woman\u201d L\u00e9ontine<\/strong>. This actress\u2019s identity has never been discovered, and after her absolutely brilliant comic roles with Path\u00e9 between 1910 and 1912, there was no further sign of her until she appeared in this Feuillade film.<\/span><\/p>\n

The Jonathan Dennis Memorial Lecture<\/strong> will be delivered on Wednesday 8 October by Jane M. Gaines<\/strong>, Professor of Film and Media Studies at Columbia University, with her talk titled \u201cImagine!\u201d The History of Global Silent Film with only Women.\u201d 5.30 p.m. at Teatro Verdi.<\/u><\/span><\/p>\n

Wednesday 8 October<\/u> is a special day also for the Giornate online programme on MyMovies<\/strong>, offering a double screening: from 3 p.m., accompanied on the piano by Jos\u00e9 Mar\u00eda Serralde Ruiz<\/strong>, you can watch Emilio Gallo’s documentary Colonia Alpina<\/em><\/strong> (1924-1929), on a summer holiday camp in the mountains for children from not well-off families, followed by Augusto Genina’s spectacular film Il siluramento dell’Oceania<\/em><\/strong> (1917), which depicts the sinking of an ocean liner during the First World War; and, from 9 p.m., George B. Seitz’s maritime drama The Blood Ship<\/em><\/strong> (1927)\u00a0 accompanied by Donald Sosin<\/strong>.<\/span><\/p>\n

The Pordenone Silent Film Festival \/ Le Giornate del Cinema Muto is made possible thanks to the support of the Regione Autonoma Friuli Venezia Giulia, the Ministry of Culture \u2013 Direzione Generale Cinema, the city of Pordenone, the Pordenone-Udine Chamber of Commerce, the Fondazione Friuli and with the participation of BCC Pordenonese e Monsile.<\/em><\/span><\/p>","protected":false},"excerpt":{"rendered":"

THE GERMAN RETREAT AND BATTLE OF ARRAS AND PALESTINE \u2013 A REVISED NARRATIVE\u00a0 Programme for Wednesday 8 October 2025 at Pordenone\u2019s Teatro Verdi<\/p>\n","protected":false},"author":3,"featured_media":25890,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[70],"tags":[],"class_list":["post-25889","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"yoast_head":"\nTHE MIDWEEK SPECIAL EVENT: A CALL AGAINST WAR WITH MATERIALS FROM THE IMPERIAL WAR MUSEUM OF LONDON | Le Giornate del Cinema Muto<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.giornatedelcinemamuto.it\/en\/un-appello-contro-la-guerra-levento-speciale-di-meta-festival-con-materiali-dellimperial-war-museum-di-londra\/\" \/>\n<meta property=\"og:locale\" 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