When The Artist, directed by Michel Hazanavicius, was released in 2011 to universal acclaim, it renewed some viewers’ faith in film to tell a story without the elaborate technological interventions that had come to be seen as essential to filmmaking in the twenty-first century. The Artist was silent, but for musical accompaniment, and in black and white with intertitles. It invited audiences to accept the illusion of experiencing film-going as it was in the beginning, in the silent world of light and dark.
|Title of host publication||The Silents of Jesus in the Cinema (1897-1927)|
|Place of Publication||New York|
|Number of pages||15|
|Publication status||Published - 2016|
|Name||Routledge Studies in Religion and Film|