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Opera may even reveal silent film not to be voiceless at all.
The subjects were asked to recount the story of a silent film.
Theater musicians went from stage productions to making live music for the silent film.
It is tempting to see these arias as the most obvious way for a silent film truly to have a voice.
The musical accompaniment of silent film has a venerable tradition.
However, he fails to see that even in a silent film the visual language of cinema can be equally vacillating and ambiguous.
However, this film goes far beyond the short story, play, opera and silent film by considerably fleshing out the narrative.
Surprisingly then, silent film is uniquely suited to revealing opera's tendency to go beyond song, in its fascination with and anxiety about silence.
Would a silent film of or about opera have any meaning?
Tambling mentions a few prima donnas who were lent to silent film, but does not account for their silence.
They also suggest, perhaps, some essential quality of silent film itself.
In both silent film and in opera, moments of generic anxiety, so to speak, are signified by the gesture of the cry.
Silent film is a specific construction of images in relation to the absence of speech; it struggles with expression in conditions lacking speech.
The only language included in the silent film was the speech of the actors that was presented in the titles (see footnote 5).
Silent film representing the voice of opera wishes to emit a cry, yet the very essence of that cry is that it will not be heard.
