A Wired.com article asserts that there’s a silent film revival:
Over the past two decades, artists have explored the legacy of silent cinema, not as a dusty anachronism but as a rich medium from which lessons about music, performance and art can be drawn.
Prolific modern-day directors like Guy Maddin work largely in the medium of silent film to convey postmodern tales. Silent film festivals are held annually around the world: from San Francisco to Kansas, from Italy to Australia. The Chilean subways are plastered with thousands of still images, coming to life as contiguous strips of film as the trains rumble by. And numerous groups throughout the United States have been inspired to compose and perform live original scores to silent film.
It’s true to some extent, if a “revival” can be said to take place over decades.
In any case, we’ve been seeing more silent film here. There was Kaliya Mardan last year at the National Museum (see earlier post), and the upcoming Japanese silent film screenings with gamelan accompaniment (!) at NUS in March.
(From Table of Malcontents)