The era of the American silent feature film lasted from 1912 until 1929. During that time, filmmakers established the language of cinema, and the motion pictures they created reached a height of artistic sophistication. These films, with their recognizable stars and high production values, spread American culture around the world. Silent feature films disappeared from sight soon after the coming of sound, and many vanished from existence. This report focuses on those titles that have managed to survive to the present day and represents the first comprehensive survey of the survival of American silent feature films. The American Film Institute Catalog of Feature Films documents 10,919 silent feature films of American origin released through 1930. Treasures from the Film Archives, published by the International Federation of Film Archives (FIAF), is the primary source of information regarding silent film survival in the archival community. The FIAF information has been enhanced by information from corporations, libraries, and private collectors. We have good documentation on what American silent feature films were produced and released. This study quantifies the "what," "where," and "why" of their survival. The survey was designed to answer five questions:

238-page narrative on screenwriting composed from two years of discussions with over 30 contributors in a 'private office' hosted by Francis Ford Coppola's Zoetrope.com virtual studio. Distinctive format offers practical advice along with recognition of unique problems facing writers. An indispensable resource for professional motion picture writers, intermediate and advanced students of screenwriting, film school instructors, producers, and rewrite consultants. The book focuses on five vital components of screenplay art: writing as a career and workplace experience, audience-protagonist bonding, scene cards, story development, and marketing to indie producers. Screenplay Form and Structure provides fresh ideas and genuine dialogue about how stories work and why some are universally hailed as film classics. This tightly edited volume contains dozens of clear, practical tutorials. Subject Index cites 45 classic and recent movies, academic research, and probing Q&A by industry-savvy workshop participants. Many of the participants are working pros, others just starting out, with a few novelists and academics thrown in for spice. "A necessary addition to any screenwriting library, covers all the stuff that the others don't and does it in a witty, conversational style that's great fun to read." - Richard Krevolin, Writer/Director "Unique discussion format makes for an original read... A worthwhile read for serious screenwriting students." - Angela Guess, LA Screenwriter Blog

Over 100 years ago, Western-Europeans invented cinema technology along with its visual aesthetics, production techniques, and rules of filmmaking: the Universal Way of filmmaking. Are there other Ways that make more sense to the experiences and perceptions of other cultures? More and more filmmakers worldwide say yes. Even Western-Europeans seek new Ways to see outside the century-old box of the movie screen. This book is for both novice and seasoned film and video makers (students and professionals) who are searching for a more powerful and sensible Way of making movies. They need a Way with personal and cultural relevance and meaning. At its core, this book is about creating these alternative filmmaking Ways. This book does not presume to tell anyone what his or her particular cultural Way of film is (although many examples are offered). What it does provide are insights and strategies for self-discovering a Way. Specific production methods and techniques are detailed that can be used to shape a new Way. Additionally, the history, theory, and science behind these practical production strategies is reviewed. This book is an eye-opener for those seeking alternatives to conventional media industry methods and who want to innovate their own unique, artistic Way. To make film and video in new Ways, in natural Ways, in Ways that are often hidden...that is the mission of this book.

Considering how culturally indispensable digital technology is today, it is ironic that computer-generated art was attacked when it burst onto the scene in the early 1960s. In fact, no other twentieth-century art form has elicited such a negative and hostile response. When the Machine Made Art examines the cultural and critical response to computer art, or what we refer to today as digital art. Tracing the heated debates between art and science, the societal anxiety over nascent computer technology, and the myths and philosophies surrounding digital computation, Taylor is able to identify the destabilizing forces that shape and eventually fragment the computer art movement.

"A.S. Eye See It" is a visual wonderland of digital sketches. The images speak for themselves. It includes art drawn with the use of an eyegaze enabled augmentative communication device, as well as hand drawn digital art. The artist is 7 years old and has Quadriplegic Cerebral Palsy. "A.S. Eye See It" transcends physical reality, and projects a brand new digital landscape.

A fully bilingual catalogue (English/Japanese) for an exhibition of the Japanese video/film artist Yu Araki, at The Container, Tokyo. The catalogue explores in writings and images Araki's practice and the exhibition "Wrong Translation," featuring a video installation inspired by Araki's recent residency in Santander, Spain, summer 2013. The video installation, entitled "ANGELO LIVES," makes references to Shusaku Endo's novel "Silence" (1966), and fictitiously narrated by Anjiro, a Japanese convicted murderer who fled Japan to the Malaysian state Malacca in the 16th century, returning later back to Japan with Saint Francis Xavier and two additional Jesuits, as an interpreter, in what is documented as the first Jesuit mission to Japan. The installation also forges false connections between the spread of Christianity to the new world and the export of olive oil. The Container, as the name suggests, is no more than a constructed shipping container (485x180x177cm) in Nakameguro, Tokyo. The exhibition space, the brainchild of Tokyo-based curator Shai Ohayon, invites Japanese and international artists to make site-specific installations four times a year. Each installation remains on view to the public for two-and-a-half months. www.the-container.com

Composer and cellist Kathy McTavish writes about her music and experimental film. This book features sequences of black and white photo images from the film "birdland," photographs of cello performance and includes a long poem, or score, for her unique fusion form. McTavish has received Jerome Foundation, American Composers Forum commissions and several awards from the Arrowhead Regional Arts Council.

In *Video-Graphic Alchemy: Transforming "Dear Diary,"* Elayne Zalis explores personal and cultural memories of life in the United States during the second half of the twentieth century. Blending fact and fiction, the retrospective brings together artistic, multimedia, and literary texts from her repertoire. A childhood diary that Zalis kept in the mid-1960s inspired these transmedia experiments. The book includes reproductions of more than twenty color and black-and-white images. For additional background, see www.TheMemoryChannel.com.