Imported Print! Introduced by Mark Sandberg. Live music by The Town Quartet. Bruce Loeb on piano. Set during the Napoleonic Wars, this adaptation of Ibsen's nationalistic poem is distinguished by stunning land- and seascape photography. With the director’s Hollywood epic The Wind, wherein naïve Virginia belle Lillian Gish relocates to windswept Texas. (136 mins)
Presented in conjunction with our series: On Location in Silent Cinema
In recent years, studio sets have given way to green screens and new forms of digital manipulation have transformed iconic landmarks. But when, and how, did “location” emerge as a lure for audiences, as either a guarantee of realism or a site of artifice and fantasy? The films in this series, shown in conjunction with the Second International Berkeley Conference on Silent Cinema, address the establishment of location as a cinematic concept by considering the various ways that it functions in silent cinema. In Les Halles centrales (1927) and Études sur Paris (1928), Paris is represented in a style that is both documentary and poetic. Two films by Victor Sjöström, Terje Vigen (1917) and The Wind (1928), show a continuity of location practices across cultures and studio systems. Between the crushing poverty and social alienation of Love and Duty (1931) and the experimental and fantastic prison of The Ghost that Does Not Return (1929), we begin to trace the social and political implications of film location. Finally, monumental locations underscore the equally insurmountable internal conflicts of the film’s “good” bad man in The Bargain (1914).
$9.50 Adults, $5.50 BAM/PFA members, UC Berkeley Students, $6.50 UC Berkeley faculty, non UCB students, seniors, youth, and disabled
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