Paul Cuff
Biographic Data
| ID | 3064538 |
|---|---|
| NAME | Paul Cuff |
| GIVEN NAMES | Paul |
| FAMILY NAME | Cuff |
| SIGNATURE | CUFF P |
| AFFILIATIONS | University of Warwick |
| ORCID | 0000-0003-2936-9939 |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Style over Substance? The Case of Die wunderbare Lüge der Nina Petrowna (1929)
For their help accessing archival material, my thanks to Luciano Palumbo and Carmen Prokopiak of the Friedrich-Wilhelm-Murnau-Stiftung (Germany), and to Phil Wickham and the staff of the Bill Douglas Cinema Museum (UK).Notes1 I cannot find any evidence in the film (or in contemporary press material) to confirm Bergfelder et al.’s claim that the musical clock plays this waltz melody (2007, 153). Schmidt-Gentner’s score is lost, but in Maurice Jaub…
A Brilliant Meteor Across the Filmic Heavens’
This article examines German star Brigitte Helm within British film culture across 1926–33. I identify three stages in her active career on British screens. Firstly, I analyse the impact of her debut role in Metropolis (1927), demonstrating how Helm was central to its marketing and reception within the UK – and how this legacy shaped her subsequent stardom within British film culture. Secondly, I argue that the apogee of Helm’s stardom within the…
Encountering sound
This article identifies silent film soundtracks as evidence of the tensions between old and new audiovisual cultures, and examines the distinctions between our experience of live and mediated cinema through contemporary modes of presentation. My primary interest is in the aesthetic and cultural dimensions of film sound, and the ways in which digital technology influences the creation, performance, and recording of music for silent cinema. Paralle…
The Cinema as Time Machine
This essay examines the role of duration in the films of Abel Gance, focusing in particular on J’accuse! (1919) and La Roue (1922). I relate how the length and format of these films played a central role in the way they were produced, distributed, and receiving critically. The essay begins by tracing the evolution of Gance’s early films in relation to contemporary modes of production and distribution. I demonstrate that his move from short to fea…
Silent cinema
This essay examines the digital reproduction of film texts from the silent era. The digitalization of celluloid, as well as the deconstruction of traditional models of theatrical viewing, places the modern spectator at a material as well as a methodological remove from the historical practices of early cinema. In theatres, films are no longer projected on celluloid, nor is there a performative element to their exhibition. At home, DVD/Blu-ray edi…
A Revolution for the Screen
Revolution for the Screen
Mortal gods
Silent cinema
This essay examines the digital reproduction of film texts from the silent era. The digitalization of celluloid, as well as the deconstruction of traditional models of theatrical viewing, places the modern spectator at a material as well as a methodological remove from the historical practices of early cinema. In theatres, films are no longer projected on celluloid, nor is there a performative element to their exhibition. At home, DVD/Blu-ray edi…
A Revolution for the Screen
Revolution for the Screen
Mortal gods
Silent cinema
This essay examines the digital reproduction of film texts from the silent era. The digitalization of celluloid, as well as the deconstruction of traditional models of theatrical viewing, places the modern spectator at a material as well as a methodological remove from the historical practices of early cinema. In theatres, films are no longer projected on celluloid, nor is there a performative element to their exhibition. At home, DVD/Blu-ray edi…
The Cinema as Time Machine
This essay examines the role of duration in the films of Abel Gance, focusing in particular on J’accuse! (1919) and La Roue (1922). I relate how the length and format of these films played a central role in the way they were produced, distributed, and receiving critically. The essay begins by tracing the evolution of Gance’s early films in relation to contemporary modes of production and distribution. I demonstrate that his move from short to fea…
Encountering sound
This article identifies silent film soundtracks as evidence of the tensions between old and new audiovisual cultures, and examines the distinctions between our experience of live and mediated cinema through contemporary modes of presentation. My primary interest is in the aesthetic and cultural dimensions of film sound, and the ways in which digital technology influences the creation, performance, and recording of music for silent cinema. Paralle…
A Brilliant Meteor Across the Filmic Heavens’
This article examines German star Brigitte Helm within British film culture across 1926–33. I identify three stages in her active career on British screens. Firstly, I analyse the impact of her debut role in Metropolis (1927), demonstrating how Helm was central to its marketing and reception within the UK – and how this legacy shaped her subsequent stardom within British film culture. Secondly, I argue that the apogee of Helm’s stardom within the…
Style over Substance? The Case of Die wunderbare Lüge der Nina Petrowna (1929)
For their help accessing archival material, my thanks to Luciano Palumbo and Carmen Prokopiak of the Friedrich-Wilhelm-Murnau-Stiftung (Germany), and to Phil Wickham and the staff of the Bill Douglas Cinema Museum (UK).Notes1 I cannot find any evidence in the film (or in contemporary press material) to confirm Bergfelder et al.’s claim that the musical clock plays this waltz melody (2007, 153). Schmidt-Gentner’s score is lost, but in Maurice Jaub…
Art (7 works) · Cinema and Media Studies (6 works) · History (5 works) · Art history (4 works) · Computer Science (4 works) · Movie theater (4 works) · Sociology (4 works) · Aesthetics (3 works) · Literature (3 works) · Visual arts (3 works)