Medieval Art and the Look of Silent Film

The heyday of Silent Film, so beloved by film buffs, was an era that became instantly quaint with the arrival of “Talkies.” As early as 1929, critics and film historians were writing of the period as though of the distant past. Since then, a torrent of books has been released, many of which mention art—in the main, asking whether film could be art—others discussing the splendor of the sets, the persuasion of the ambiance, or the psychological depth of the scenario. What these authors seem to have overlooked is the work of the costume and set designers to provide the background which profoundly affects all of the above. Most especially, they failed to examine the source of the inspiration on those who created that background.To fill this apparent gap, the premise of this volume—costume and set design in the silent film—concentrates on what is arguably the most prevailing influence on both, the presumed nobility of the Middle Ages. Largely owing to the psychological upset of World War I, although beginning earlier, society was in a state of flux. Women, who had been so active during the war, refused to return exclusively to home and kitchen. Veterans, who had experienced the worst, could no longer accept the prewar class restrictions and artificial manners. It was only natural that a longing for what seemed a nobler and purer period would be created. Designers, if only partly consciously, turned to that period like flowers to the sun, creating an ambiance which they felt reflected those higher ideals. Ironically, although the influence is more than obvious in both sets and wardrobes, the period devolves into one of freedom bordering on license, and an almost complete overthrow of those old-fashioned ideals.

"If instructors want a textbook about the 'medieval ambience' in early film, they will be primarily interested in the first half of this book. Others who chiefly wish to know more about the influence of medieval art on fashion and architecture, especially in Hollywood, during this period will connect better with the second half."--SMART: Studies in Medieval and Renaissance Teaching, "The book is filled with troves of facts and narratives about early film and peppered with sumptuous fashion plates, photos of architectural masterpieces, and wonderful film stills."--The Journal of Dress History.

Lora Ann Sigler is professor emerita of art history at California State University. She lives in San Pedro, California.