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Sounds of Early Cinema

Author: Richard Abel; Rick Altman
Publisher: Indiana University Press, 2001.
Edition/Format:   Print book : Document   Computer File : EnglishView all editions and formats

Focuses on the ubiquitous presence of sound in early cinema. This book contains twenty-five essays that cover a broad range of subjects: general theory as applied to film sound, sound practices in  Read more...


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Genre/Form: Electronic books
Additional Physical Format: Print
Sounds of Early Cinema
Material Type: Document
Document Type: Book, Computer File
All Authors / Contributors: Richard Abel; Rick Altman
OCLC Number: 940544762
Notes: Book.
Description: 1 online resource
Contents: Contents; Introduction - Richard Abel and Rick Altman; I. A Context of Intermediality; Early Phonograph Culture and Moving Pictures - Ian Christie; Doing for the Eye What the Phonograph Does for the Ear - Tom Gunning; Remarks on Writing and Technologies of Sound in Early Cinema - Mats Bjorkin; Next Slide Please' - The Lantern Lecture in Britain, 1890-1910 Richard Crangle; The Ways of Silence - Francois Jost; The Event and the Series - The Decline of Cafe-Concerts, the Failure of Gaumont's Chronphone and the Birth of Cinema as Art - Edouard Arnoldy; II. Sound Practices in Production; Dialogues in Silent Screenplays - What the Actors Really Said - Isabelle Raynauld; The First Transi-Sounds of Parallel Editing - Bernard Perron; Sound, the Jump Cut, and 'Trickality' in Early Danish Comedies - John Fullerton; Setting the Pace of a Heartbeat - The Use of Sound Elements in European Melodramas Before 1915 - Dominique Nasta; Talking Movie or Silent Theater - Creative Experiments by Vasily Goncharov - Rashit Yangirov; III. Sound Practices in Exhibition; Sleighbells and Moving Pictures - On the Trail of D. W. Robertson - Gregory Waller; The Story of Percy Peashaker - Debates about Sound Effects in the Early Cinema - Stephen Bottomore; That Most American of Attractions, the Illustrated Song - Richard Abel; 'The Sensational Acme of Realism' - 'Talker' Pictures as Early Cinema Sound Practice - Jeffrey Klenotic; 'Bells and Whistles' - The Sound of Meaning in Train Travel Film Rides - Lauren Rabinovitz; IV. Spectators and Politics; The Noises of Spectators, or the Spectator as Additive to the Spectacle - Jean Chateauvert and Andre Gaudreault; Early Cinematographic Spectacles - The Role of Sound Accompaniment in the Reception of Moving Images - Jacques Polet; Sounding Canadian - Early Sound Practices and Nationalism in Toronto-Based Exhibition - Marta Braun and Charlie Keil; The Double Silence of the OWar To End All Wars' - Germain Lacasse; V. Film Music; Domitor Witnesses the First Complete Public Presentation of the [Dickson Experimental Sound Film] in the 20th Century - Patrick Loughney; A 'Secondary Action' or Musical Highlight? Melodic Interludes in Early Film Melodrama Reconsidered - David Mayer and Helen Day-Mayer; The Living Nickelodeon - Rick Altman; The Record of Special Music Scores for Kalem Films - Herbert Reynolds; The Orchestration of Affect - Motif of Barbarism in Breil's The Birth of a Nation Score - Jane Gaines and Neil Lerner


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