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Relevant bibliographies by topics / Early sound film

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Journal articles

Academic literature on the topic 'Early sound film'

Author: Grafiati

Published: 22 June 2024

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Journal articles on the topic "Early sound film"

1

Lewis, Hannah. "The singing film star in early French sound cinema." Soundtrack 12, no. 1 (2020): 21–37. http://dx.doi.org/10.1386/ts_00010_1.

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In the early years of synchronized sound film, cinema’s relationship to live theatre was a topic of debate. Many stars from the Parisian stage successfully transitioned to the screen, becoming important figures in establishing a French national sound film style at a time when the medium’s future remained uncertain. Not only did French audiences take pleasure in hearing French stars speak on-screen, but the French singing voice also had an equally influential, if less examined, effect. Songs performed on-screen by stars from the French stage bridged theatrical traditions and sound cinema’s emer

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2

Spadoni, Robert. "The Uncanny Body of Early Sound Film." Velvet Light Trap 51, no. 1 (2003): 4–16. http://dx.doi.org/10.1353/vlt.2003.0011.

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3

Robinson, Kelly. "An Adaptable Aesthetic: Theodor Sparkuhl's Contribution to Late Silent and Early Sound Film-making at British International Pictures, 1929–30." Journal of British Cinema and Television 17, no. 2 (2020): 172–90. http://dx.doi.org/10.3366/jbctv.2020.0518.

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The German cinematographer Theodor Sparkuhl worked at Elstree from 1929 to 1930. Accounts of this period in Britain have often emphasised the detrimental effects of the arrival of the sound film in 1928, how it sounded the death knell of film as an international medium and how the film industry struggled to adapt (economically, technically, aesthetically). However, this article shows that the international dimension of the film industry did not disappear with the coming of sound and British International Pictures (BIP) was an exception to what Robert Murphy has called the ‘catalogue of failure

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4

Tieber, Claus, and Anna K. Windisch. "Musical moments and numbers in Austrian silent cinema." Soundtrack 12, no. 1 (2020): 7–20. http://dx.doi.org/10.1386/ts_00009_1.

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Although the film musical as a genre came into its own with the sound film technologies of the late 1920s and early 1930s, several characteristic features did not originate solely with the sound film. The ‘musical number’ as the epitome of the genre, can already be found in different forms and shapes in silent films. This article looks at two Austrian silent films, Sonnige Träume (1921) and Seine Hoheit, der Eintänzer (1926), as case studies for how music is represented without a fixed sound source, highlighting the differences and similarities of musical numbers in silent and sound films. The

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5

Marez, Curtis. "Subaltern Soundtracks." Aztlán: A Journal of Chicano Studies 29, no. 1 (2004): 57–82. http://dx.doi.org/10.1525/azt.2004.29.1.57.

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This essay suggests that the postrevolutionary Mexican presence in Los Angeles profoundly influenced the emergence and consolidation of film and other media there. In the 1930s, Anglo Americans and Mexicans were in conflict and competition over how to use new forms of audio mass media such as radio and sound films. Mexican movie programmers and audiences in Los Angeles appropriated early sound films in ways that addressed immigrant concerns and contradicted emergent Hollywood norms of exhibition and spectatorship. Mainstream responses to such practices suggest that dominant uses of sound in fi

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MacDonald, Shana. "Voicing Dissonance." Feminist Media Histories 1, no. 4 (2015): 89–107. http://dx.doi.org/10.1525/fmh.2015.1.4.89.

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This article examines how sound was used as an effective tool of formal resistance in the work of influential feminist filmmakers, Carolee Schneemann (United States), Gunvor Nelson (Sweden), and Joyce Wieland (Canada). While their work differs in both aesthetic approach and thematics, their strategic use of sound as a point of disruption within their early films set an important standard for future feminist experimental film practice. The article outlines how each filmmaker constructed a dialectical relationship between image and sound that often challenged viewers. Each produced defamiliarize

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7

Vidojković, Dario. "Early Representations of Wartime Violence in Films, 1914–1930." Cultural History 6, no. 1 (2017): 37–56. http://dx.doi.org/10.3366/cult.2017.0134.

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This article deals with the cinematic representations of warfare violence and with its aestheticization in early films. It argues, in particular, that the patterns and narrative structures of (anti-)war movies were laid out during the First World War. Among the first films establishing those patterns and rules were D.W. Griffith's The Birth of a Nation, a film on the American Civil War, and Hearts of the World, showing the war on the western front, produced in 1918. Films such as these offered the main elements that would mark, henceforth, how anti-war movies would portray violence. With the u

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8

Tieber, Claus, and Christina Wintersteller. "Writing with Music: Self-Reflexivity in the Screenplays of Walter Reisch." Arts 9, no. 1 (2020): 13. http://dx.doi.org/10.3390/arts9010013.

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Self-reflexivity is a significant characteristic of Austro-German cinema during the early sound film period, particular in films that revolve around musical topics. Many examples of self-reflexive cinematic instances are connected to music in one way or another. The various ways in which music is integrated in films can produce instances of intertextuality, inter- and transmediality, and self-referentiality. However, instead of relying solely on the analysis of the films in order to interrogate the conception of such scenes, this article examines several screenplays. They include musical instr

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9

BROWN, RICHARD H. "The Spirit inside Each Object: John Cage, Oskar Fischinger, and “The Future of Music”." Journal of the Society for American Music 6, no. 1 (2012): 83–113. http://dx.doi.org/10.1017/s1752196311000411.

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AbstractLate in his career, John Cage often recalled his brief interaction with German abstract animator Oskar Fischinger in 1937 as the primary impetus for his early percussion works. Further examination of this connection reveals an important technological foundation to Cage's call for the expansion of musical resources. Fischinger's experiments with film phonography (the manipulation of the optical portion of sound film to synthesize sounds) mirrored contemporaneous refinements in recording and synthesis technology of electron beam tubes for film and television. New documentation on Cage's

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10

Helseth, Tore. "The Sound of Music in Early Documentary Film." Music and the Moving Image 17, no. 2 (2024): 3–17. http://dx.doi.org/10.5406/19407610.17.2.01.

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Abstract The coming of sound in the late 1920s ended the standard practice of continuous live musical accompaniment of the silent era, as the human voice soon came to dominate the soundtrack. In the case of the music, there was a period of transition that lasted for several years during which different practices existed side by side. By the early 1930s, the conventions of film music as we understand them today were beginning to find their form. One of the trademarks of classical narrative cinema is its transparent style: the audience is not supposed to notice the fact that the movie is narrate

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