the big noise ( 1944 film )
‎the big noise (1944) directed by malcolm st. clair • reviews, film + cast • letterboxd
laurel and hardy in the 1940s film' the big noise' ...
( 1931) he' s the big noise behind the talkies. in :
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big noise quotes .
quotes. net. stands4 llc, 2018. web. 9 jul 2018. < urltoken noise > .
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the big noise is better than its reputation, but given that reputation, it would almost have to be .
( 1929) the big noise: an unfanatical defense of the potentialities of talking pictures, the cinema' s unwanted scion. in :
( 1929) dumb shows and noise: some considerations on the coming of the sound film. in :
( 1959) dubbing in the voices. also a big production. in :
3 films, good but not their best. jitterbugs (1943), great guns (1941) and the big noise (1944). i believe ollie and stan peaked in the late 1930s. but fans will enjoy the box set, nevertheless .
( 1977) now hear this: sound mixers are making noise. in :
but that' s all nonsense .
the big noise
is not a great film but it' s a passable way to spend 74 minutes with a classic comedy team. it' s certainly not among laurel and hardy' s best films. to see those, buy the hal roach feature
sons of the desert
and the roach short
the music box .
but in
the big noise ,
the boys' genius still works at times .
deplores the deterioriation of the narrative capacities of visual imagery in the sound film .
concerning the sound film' s effect on the deterioration of the living drama .
principles and practice in the use of speech, music, and noise .
the picture is the medium of statement, the sound is the medium of suggestion .
notes on the early days of the sound film by the director of the bellamy trial (1929). discusses the effect of sound on the established film favorites of the silent days .
compares the acting techniques of the silent film, the sound film, and the stage. describes the panic of silent - movie stars induced by the advent of sound .
analyses the use of speech, noise, and music making connections between the narrative and thematic concerns .
musical structure
.
traces the role of the author' s audio amplifier in the development of the sound film, and outlines the principle systems of recording sound on film; cites the gains in realistic and emotional effectiveness conferred by sound upon the animated cartoon, the newsreel, the educational and the scenic film .
( 1983) (bad) film language: film and the status of writing. in :
( 1991 )
film séance
: the role of speech in soviet film exhibition of the 1920s. in :
predicts the success of the sound film, but insists it will not supplant the silent film. includes a discussion of various sound systems .
theoretical study of the aesthetic laws whose violation made the talking film so unsatisfactory .
the movies in our midst. documents in the cultural history of film in america
ex - soundman talks about his work in the swedish film studios during the twenties and the thirties .
the emergence of film art. the evolution and development of the motion picture as an art, from 1900 to the present
discusses the changes effected by sound film in the requirements for actors and studio equipment .
( 1936) a new stage in the development of the soviet film. in :
( 1953) the' silent' and the' sound' film. in :
reviews the first few years of talkies including the musical, the gangster film, grand hotel, and the mae west cycle .
rhythm in the sound film lies in the realtion of the change of angle in the visual stream to the sound dialogue which accompanies it .
“3m – magnetic media maker, a history of the first four decades (1944... 1985) ”, by charles l alden. see review for details .
compares talking and silent films, to the advantage of the latter, relegating the sound film to the fields of farce and melodrama .
description of the apr and the problems of recording and reproduction of the sound for the wiz incluiding the playback for the musical sequences .
( 1967) sprache des films / sprache zum film / sprache im film. in :
needed something familiar, nostalgic and fun; this 1944 laurel and hardy war - time comedy proved to be all of that and even more ...
( 1975) the aesthetics of film sound: the importance of being audible. in :
pt. iv, the sound film, pp. 97 - 210; pt. vi, the future of the sound film, pp. 263 - 270 .
( 1984) teaching film with blinders on: the importance of knowing the language. in :
finds the advance of the sound film retarded by its failure to adopt more modern sociological concepts .
the sound man of the documentary journey to the outer limits tells of the equipment he used .
( 1976) the' warner vitaphone peril': the american film industry reacts to the innovation of sound. in :
( 1974) un film sonore, un film musical, un film parlant: etude des sous - codes de la bande - son. in :
a critique of the sound film based on the premise that the art of the cinema is more closely related to music than to the theatre. with some remarks on the problems of screen acting .
. münchen: diskurs film, pp. 119 - 154 (diskurs film. 8 .) .
( 1976) writing the history of the american film industry: warner bothers and sound. in :
silent screen actors will withstand the competition by virtue of their familiarity with the technique of film acting .
the plot involves stan and ollie as bumbling janitors working in a private detective' s office. a scientist named alva hartley (arthur space) calls the agency asking for detectives to guard his bomb, called the big noise. the bomb is so powerful it can win world war ii for the allies (how prophetic !). l and h want to be detectives, so they pose as such and take on the assignment .
( 1932) art, technique and internationality of the sound film. in :
description of the postsynchronization procedure of the dutch film een vrouw als eva; includes a selection of comments from dutch film - makers about theor experiences with sound .
sound technician e. b. recalls the transition from silent to sound film .
( 1980) on the fundamental interactions of sound subcodes in film. in :
predicts the early demise of sound film. with notes on censorship of dialogue .
compares the histrionic techniques of the stage and silent film and analyzes the latter medium' s effective penetration of audience psychology. includes remarks on scenario writing and economic aspects of sound film .
holds that the sound film is superior to the stage in technique and to other arts in its universality .
( 1952) the impact of sound upon the film industry: a case study of innovation. in :
( 1983a) the blattnerphone: an early attempt to introduce magnetic recording into the film industry. in :
with the headline: critic' s notebook; a forgotten voice from the fatalistic world of film noir .
see especially ch. 12, conclusion: considers the new fields of social usefulness opened to the motion picture by the sound film .
pantomime as the true cinematic technique. deems the silent film of being capable of suggesting sound; citing the pantomimic howling of dogs in nanook of the north .
categories of film sound: speech, music, and noise; realistic (or: diegetic) vs. nonrealistic; subjective vs. objective; parallel vs. contrastive. gives numerous examples .
predicting that the invention of sound leads the movies to dependence on the stage .
diagnosis of the current unpopularity of the talkies with an appeal for the subordination of dialog to the basic visual quality of the screen .
history of the talkies, from the early photographic experiments of auguste le prince and the perfection of sound - on - film by eugene lauste to the emergence of modern vitaphone and other sound - on - film systems .
sound film. in his: film. london: faber & faber 1933, pp. 201 - 280 .
survey of a discussion in the dutch film periodical
filmliga
in the late 1920' s on the introduction of sound in films .
( 1930) off to hollywood? no, the theatre has not yet capitulated to the film. in :
( 1928) the sound film: a statement from the u. s. s. r. in :
analyzes the enunciation of sound and image with respect to diegesis. places the film in figurative tradition of impressionism .
you may find a handful of genuine laughs in the big noise, but you will also find moments that make you weep (i still don' t think the roach laurel and hardy would intentionally drop a bomb on anyone, even during wartime .) the supporting cast is instantly forgettable except for the very annoying future tv star bobby blake, but the background music is probably the best of any of their final efforts, and the film ends on a pleasant image of stan playing
mairzy doats
on a concertina while a school of fish dance on top of the water .
a contention by the hungarian director that the future of the sound film depends on the use of story material consistent with sound technique and with accurate representation of american life .
the complete film. in his film as art. berkeley, cal. : university of california press 1957, pp. 154 - 160 .
extensive description of the development of the sound film in various countries, discussing the technique, the production, and the people. includes extracts from contemporary sources by directors, actors, critics, etc .
observations on the change from silent to sound films through notes on keaton' s last silent film spite marriage (1929) and the early sound film laughter (1930) .
i always enjoy their films. years ago i was in the sons of the dessert. i don' t mean the film but the club. brings back fond memories .
account of the writer' s intellectual experiences and reactions during a screening of the jazz singer; with vitriolic and devastating generalizations on the sound film .
another of the infamous
fox laurel & hardy
latter comedies, and in the running for one of the most enjoyable of the bunch in my book. here, the older but no less amusing duo are hired to guard a bomb christened
the big noise
by its zany inventor. some old tried and true classic funny routines are trotted out and revamped, with generally satisfactory results. stan and ollie seem like their old selves again in this, thankfully getting more screen time together .
future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .
( 1933) towards true cinema: film - form the question of sound. in :
( 1930) on behalf of the silent film. in oliver m. saylor' s
( 1985) the liberation of echo: a new hearing for film sound. in :
( 1976) highlights of the history of sound recording on film in europe. in :
sound as integral part of the film. general principles that govern the use of sound in film are similar to those applying in the case of the images: economy, restraint, appropriateness, variety, variation from reality. art lies in creating a coherent, expressive world of sound in film terms .
report of the hollywood symposium
film sound in the 80s or how to make your audience sit up and listen
.
interview. g. believes that the talkies will not entirely supplant the silent film. based on the adaptation of g' s escape (1930) .
manifesto on the necessity for asynchronism and counterpoint in sound film, in accord with montage theory .
defends pantomime as a universal and international medium and ridicules the imperfections in current sound film technique .
descussion of the work done by john williams for film sound tracks, including earthquake and jaws .
sound engineer f. l. on the creative impact of film sound on aesthetics and realism .
review of the history of film technology, situating it within aesthetic, ideological and economic contexts .
emphasizes the film' s clarity and simplicity, every sound' s irreducible concreteness and efficacy .
( 1934) manifesto: dialogue on sound. its proper use in the film. in :
these later films of laureo and hardy were when they left hal roach and was near their careers end but they still were funny and it shows in these films especially jitterbugs, so in these films its the 40s but the teams comedy still shines as it did in the 30s as in great guns stan has some funny moments as they join the war and in the big noise they get caught up in a incident involving bomb which gives the film some thi gs we havent seen in laurel and hardy before, jitterbugs is the most original oug of the two and is one of laurel and hardys best films and has stan in a halarious scene involving rum .
r. p. , supervising sound mixer on earthquake, talks of the monumental job of mixing the sound for this film .
technological developments, in pursuit of ever - higher quality of sound, from 1918 (german tri - ergon group) to the dolby - noise reduction system (1973) and the hue - modulated color - photographic sound track .
summarizes the effects of the sound revolution on the fortunes of silent - screen and stage actors .
nostalgic comparison between the intimate qualities of the music - hall stage and the new talking picture .
this is just an ok film. l and h fans will be more tolerant. those unaccustomed to the pair should watch a better entry. the boys were starting to age in 1944 and the physical hijinks suffered. there are funny scenes, though, of l and h trying to relax in a bedroom with beds that come out of the walls and tables that rise out of the floor. a scene where the pair eats food in pill form is flat and unfunny, though .
discussion of the techniques employed by a. s. for the dune sound effects and what brought him to work on the film at this point in his career .
stresses the primacy of speech in the sound - film revolution. it is the dramaturgy of voices that largely determined the evolution of classical cutting in the 1930s and other aspects of filmic narrative and sytyle through the 1950s. analyzing filmic articulation into theree
zones
: perception / identification; film as discourse; speech in films .
ampex factbook 1970
this factbook gives details on the company from 1944 to 1969. it was published by ampex corporation in 1970, and tells about the corporation, the divisions and subsidiaries, the principal technologies, historical highlights and product development, financial record, personnel growth, management, facilities, and field offices. it is a searchable pdf file .
( 1971) film - sound - space: the oss (optical sound synthesizer). in :
how the gpo, in acquiring film sound technology, has eliminated
economic and ideologic overheads
.
the film work of duras offers the paradox of making the voice the means of writing, thus reintroducing, according to the derridean project, writing into speech
. detailed analysis of the openeing sequences of india song, whose disjunctions and resistances
organize the film into a' scene of writing' particularly suited to provoking an investigation which returns to theory itself
.
doubts the utility of sound for intensification of the interelationship of time, consciousness, and the subconscious .
on the pre - production of the sound track of george stevens' a place in the sun .
eventually laurel and hardy take off with the bomb with the crooks in hot pursuit. incredibly, the whole shebang ends in the ocean !
attributes the rise of animated sound cartoon, the renewed popularity of mack sennett' s comedies, and the revival of the western and serial genres to the rebellion of child audiences against the overemphasis on dialogue .
business history. see chs. 17 and 18, 1931 - ed. pp. 362 - 387, 388 - 405. ch. 17 ,
talkies
, gives an account of the advent of the sound film in 1926; outlines the confused status of the numerous sound patents on the market; also details the financial plight of the warner bros. company. ch. 18 ,
sound and fury
, describes the far - reaching effcts of the establishment of sound on the film industry; chronicles the formation of the rko, paramount - publix, and mgm organizations; the changes in studio operation and equipment; and the effect of the talkies on the stars of the silent era, and on musicians .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
poses the problem of integrating the best visual and narrative qualities of the silent cinema with music and dialogue .
postulating pantomime as the essence of the medium and analyzing chaplin' s success in support of the contention .
the film' s spoken text has three functions: emotive stimulation, integration of action with setting, and expository supplementation of the visual image .
the
complete
film, toward which sound, color, wide - screen, and 3 - d strive, runs counter to film' s formative (artistic) tendency .
( 1980) the european influence on the coming of sound to the american film, 1925 - 1940: a survey. in: cameron 1980, pp. 136 - 180 .
interview on r. l.' s work as a sound technician at the national film board of canada .
part one: opinions of 35 directors on the significance of sound in film experience. part two: on the significance of sound for filmic expression .
the film traces
a trajectory that corresponds in psychoanalysis to the child' s transition from auto - eroticism to narcissistic identification with an other
.
also, veda ann borg overacts as a chunky matron who has eyes for ollie. one trivia bit in the film is that stan, on his accordion, played the popular song
maisey doats .
according to the film' s press book, the pair deliberately cut back on wasteful gags to help with the wwii effort .
on the increasing importance of the musical director created by the coming of sound. also discusses changes in acting .
reveals the unusual and technical exacting requirements imposed by the sound effects in rko' s the silver strike (1934) and the resulting synchronization of six separate recordings on the sound track .
a new standard volume indicator and reference level, (1940) by chinn, gannett, and morris. the classic ire paper on the development of the
vu meter
. includes the history of volume indicators, the engineering factors in designing the meter, and the text of the original standard .
carries montage theory over into sound film, beginning necessary
analysis of the nature of audio - visual phenomena
, including the concept of vertical montage .
[ span. : ] un film sonoro, un film musical, un film hablado: estudio de los subcódigos de la bande sonora. in: video - forum, 9, dec. 1980, pp. 69 - 127 .
suggestions of the dramatic and aesthetic possibilities of sound; acoustic fading; inscribing sound directly on the track; modifications of the visual fade - out to meet the demands of the sound track .
the boys made a handfull of films after parting company with hal roach. which one do you think is the worst? select the button next to the film of your choice, then select the
cast your vote
button at the bottom. remember, every vote counts but please only vote once .
( 1980) film form / voice - over: bresson' s the diary of a country priest. in :
includes chapters on
the addition of sound
,
sound film processing
, and
sound reproduction
.
what factors determined the specific forms of the talking film? interrelationships of economic and ideological determinations (e. g. hollywood' s response to the crash with escapist musicals, and social problem films whose bourgeois humanist ideology recuperates
problems
). speech in film ensures and reinforces idea of individual as hero of the fiction. the space of continuity editing is the space of dialogue .
discusses the prevalence of dubbing singers and doubling dancers during the 40' s with special emphasis on the jolson story .
( 1976) problems in film history: how fox innovated sound. in :
rev. in: epd film, 12, 1985, p. 16 .
when the duo are in the hi - tech bedroom, and ollie rides the bed back out of the wall, the following sequences show that the rotating table is first clear, then has the pipe and magnifying glass back on it, then is clear again, and then has the chairs re - arranged .
analysis of some short films using vitaphone sound, 1926 - 1927; the films are seen as responding to the separate conditions within their domain as well as to historical, technological, and formal developments in the field of the feature film .
stresses the necessity for the complete integration of sound and image in talking films .
discusses the art and technology behind the brainstorm sound design created by frank serafine .
. 1964, 224 pp. (the technique of the movies .) .
( 1977) the development of sound systems: the commercial era. in :
an experimental study of the measurement of auditory manifestations of stage fright by means of rating scale and film sound track technique .
( 1979) the coming of sound to the american cinema: a history of the transformation of an industry. in :
the film was later reworked into the plot of brooklyn orchid, one of hal roach' s streamliners, made in 1942 and starring william bendix and joe sawyer .
capsule summary of technological developments (e. g. , magnetic recording, multiple - channel, dolby) in sound film subsequent to 1927, to stress the separation of production of sound and image tracks, and the constructed nature of film sound .
aes celebrates 60th anniversary presents oral history to complement the written history below in
how the aes began
and
histories of the founding of the aes
.
an anthology from the pages the the
journal of the smpte
. berkeley, cal. / los angeles, cal. : university of california press 1967 .
they wanted to make a big noise and break windows, which they did every time they mentioned ulmer' s name. it seemed like a joke and, to a certain extent, it was. americans didn' t need to see any of ulmer' s films to have an opinion about his work. a selective listing of his credits could induce dangerously loud laughter :
girls in chains ,
jive junction
and
the man from planet x ,
among others .
seven lectures on the technique and history of sound films (beginning with the herschel - fitten thaumatrope in 1820). contains a chapter contrasting the technique and aesthetic potentialities of the sound cinema with the mechanics of the stage. includes a comprehensive bibliography .
( 1986) der voice - over als subjektivisierende erzählstruktur des film noir. in :
, 13, 1965: special issue
die rolle des worts im film
.
( 1973) für eine funktion des tons im film (1967). in :
( 1995) ton, film und polyphone ethnographie. erfahrungen aus hamar. in :
words and moving images: essays on verbal and visual expression in film and television .
[ excerpt: ] theory of the film: sound. in: weis & belton 1985, pp. 116 - 125 .
( 1985) the technology and aesthetics of film sound. in: weis & belton 1985, pp. 63 - 72 .
check out highlights from some of the best recent trailers including mandy, the predator, zoe, and the king of thieves .
( 1928) the reaction of the public to motion pictures with sound. in :
on syberberg' s parsifal and the problems of dubbing the singers of opera films .
on the increasing importance and developments in the use of audio equipment for sound tracks .
in film production
dubbing
generally refers to audio material recorded after the shooting of the scene (either because a line was poorly recorded originally due to extraneous noise on location, or because it' s being dubbed into another language). in classic musicals, the numbers were pre - recorded (i. e. recorded beforehand). then, during shooting the actors / singers would lip - sync to them. (see the
lose that long face
number in the restored garland a star is born - - it demonstrates this technique. )
see esp. sect. i, ch. 3 ,
development of the dialogue film
, and sect. i, ch. 4 ,
the problem of universal appeal
( on the barrier of language and the production of multilingual films) .
digital audio engineering standardization history at the aes: the history of the development of the aes digital audio standards, as given in the aes journal minutes and reports of the digital audio standards and technical committees between 1977 and 1984, and in bart locanthi' s 1986 summary of the committees' work .
outlines the film' s
tactical innovations
and their relationships to the traditions of radio drama. valuable discussion of principles of constructing acoustic space as developed in radio drama .
sound engineer t. p. discusses the conventionality of sound as a dimension in film; also on
invisible
sound editing .
the story of the part played by warner bros. in bringing the sound film to the screen. see esp. pt. iii ,
production
, discussing the problems of adapting sound engineering to theatrical needs, and describing vitaphone' s first sound stage; on the emergence of spoken dialogue as a departure from musical recordings. see also pt. iv on
the talkie boom
.
praises idiosyncrasies of the voice. point is not to imitate codified techniques but to find the unique sound appropriate to the cinematic moment .
condemns the talkie' s servile imitation of the stage and advocates terse dialog, improved synchronization, and the proper utilization of silence .
enquiry into muteness in the cinema. part of the article is given to a study of the mime in les enfants du paradise .
repr. : the soundtrack of the rules of the game. in: weis & belton 1985, pp. 312 - 322 .
criticism of the primitive state of the talkies - imperfectness of timing and synchronization, mediocrity of dialogue, actors unaccustomed to the medium .
( 1927) silence: a dissertation on the virtues of silence and its indispensability to the art of the moving picture. in :
( 1983) tense, mood and voice in film. notes after genette. in :
( 1979) a few aspects on sound history and history sound in film. in :
on a new film made in ussr using images of varying sizes and also stereophonic sound .
another reason was that a pre - recorded song eliminated any unwanted background noise from the location - - it gave a
clean
recording. example: a scene with a waterfall in the background - - if the song were recorded
live
( on location during photography) the waterfall would compete with the voice. pre - recording a
clean
musical track and lip - syncing to it on location meant that there was no waterfall sound competing with the song. then, during mixing, the sound of a waterfall would be added - - with the benefit that the filmmakers now have total control over the waterfall because it is added later as a sound effect .
with speculations on the propagation, by the talkie, of english as a world language .
presents the editing of synchronized sound and action as a problem in the coordination of rhythms .
articles on the effect which the coming of sound had upon styles, acting, etc .
( 1982) structures of sound and image in the rules of the game. in :
demonstrates via historical and phenomenological arguments that sound is necessary to film, an integral part of the image. philosophical commentary on audiovisual representation .
( 1929). laurel requested that the setting be changed to a turbulent plane, but producer sol wurtzel refused to accommodate him. at the end of the scene, you can hear the camera crew laughing in the background .
when laurel goes to turn off the light and accidentally sends hardy' s bed into its hiding space in the wall, laurel' s pipe and magnifying glass are on the table. laurel panics and begins pushing buttons. when he hits the button that spins the table into the floor, you can see the pipe and magnifying glass go flying. when the table returns, you can see they are still not on the table. but when hardy' s bed comes back out of the wall and hardy falls from the bed, as the camera follows him, the table can be seen and the pipe and magnifying glass are sitting there .
[ rev. version: ] the coming of sound: technological change in the american film industry. in: weis & belton 1985, pp. 5 - 24. also in the second ed. of ballio' s book .
regrets the triumph of the sound - track over the picture (
imperialism of spoken discourse
) and traces the development of this phenomenon. with reference to hitchcock' s blackmail .
truffaut and his friends were promoting their politiques des auteurs approach to film criticism, a theory that dictated, among other things, that a film could be properly understood only if seen in relation to the director' s entire work. the cahiers people were then in the bomb - throwing phase of their anti - establishment activism .
analysis of the potential aesthetic contributions of the sound film, defined as an independent form based on its own peculiar technique and incapable of reproduction in another medium. traces the origin of synchronized sound to the onomatopoetic musical scores of silent films, particularly to edmund meisel' s compositions .
reviewed by john fell in: film quarterly 36, 4, 1983, p. 60 .
sound motion pictures, recording and reproducing. with chapters on motion picture studio and film laboratory practice
( 1976) projet pour une sémiologie des relations audio - visuelles dans le film. in :
( 1939) some accomplishments of eugene augustin lauste - pioneer sound - film inventor. in :
( 1930) der film als forschungsmittel der technik. in: petersen 1930, 20 pp .
london / basingstoke: macmillan; london: british film institute 1985, xi, 171 pp .
( 1990) lektüre des audiovisuellen. film und fernsehen als gegenstände einer erweiterten theaterwissenschaft. in :
rev. in: film quarterly 42, 3, 1989, pp. 50 - 52 .
film - musik - musikbeschreibung. zur grundlage einer filmsemiotik in der wahrnehmung von geräusch und musik .
münster: maks publikationen 1994, 309 s. (film - und fernsehwissenschaftliche arbeiten .) .
the double bill of
detour
and
the narrow margin
begins the film forum 2' s midsummer treat, a six - week retrospective titled
somewhere in the night: the auteur side of film noir .
it' s not surprising that
detour
was also on the bill last week when the cinematographe opened its retrospective
film noir ,
which runs through july 23. there' s no need to know
girls in chains
or
jive junction
to be astonished by the merciless vision of the ulmer classic .
detour ,
which reportedly took six days to shoot and cost $ 30, 000, speaks for itself in its alternately laconic and gabby way .
repr. as history of the american film industry from its beginnings to 1931. ed. by richard griffith. new york: dover 1970 .
attack on robert e. sherwood' s commendation of the sound film. based on theories of münsterberg, faure, pudovkin, and eisenstein .
what, exactly, is film noir? in recent years the term has been used more and more loosely until it' s now being applied even to color films. even though the term' s root remains fuzzy ,
noir - ish
is sometimes used as a modifier for any film whose characters are even faintly antisocial. my own unreliable criterion: if the cast includes claire trevor, marie windsor, evelyn keyes or gloria grahame, then the film is noir .
for reasons not easily explained, the existence of a
detour
remake seems absolutely in keeping with the whole film noir ethos - - sad, hustling and sinfully entertaining. where and when
analysis of the film' s reflexive aural techniques and audiovisual editing. vertov' s concept of audiovisual montage is more radical and subtle than eisenstein' s. he invokes the
radio - ear
to break the spell of illusionism .
this site and its links - - use the search box at the top of this page .
sound engineer françois musy talks about the technical and aesthetical problems creating the track for prénom carmen .
early guide to the practical management of sound films from the projectionist' s point of view .
( 1976) the coming of the talkies: invention, innovation, and diffusion. in :
the development of the tri - ergon system; stages of invention, innovation, and diffusion .
( 1974) the art of the sound editor: an interview with walter murch. in :
statement on the sound film. in eisenstein' s film form. new york: harcourt, brace 1949, pp. 257 - 260. repr. new york: dobson 1963. other ed. : new york: meridian books 1957 .
twelve points related to the
bias against sound thinking
; enumerating levels on which this bias operates (ideological, perceptual, textual, terminological, film - historical); overviewing 1970s critical and theoretical writing on film sound. includes bibliography .
film noir is an elastic term. according to the film forum 2, it can be applied to two exceptionally rich - looking films: orson welles' s
lady from shanghai
( 1948) and charles vidor' s
gilda
( 1946), which are being shown on a double bill aug. 7 to 9. the film noir seediness in each is almost entirely internalized, evident only in the lust, greed and other delightfully base motives that drive the characters .
interview with h. g. wells who registers his skepticism concerning the value of spoken dialogue. includes references to his pioneering film work with the inventor, robert w. paul, in 1895 .
. new york: film and sprockets society of the ccny art department 1937, pp. 20 - 24 (publication no. 1 .) .
summarizes presentations at fall 1983 conference in birmingham on
sound cinema
, focusing on semiotics of film sound and the positioning of auditor / spectator .
it still isn' t a great film. but it is a hell of a lot better than
vorschlag für eine serie kurzspielfilme. in: film - kurier, 108, 9. mai 1931 .
schriften zum film. 2. der geist des films. artikel und aufsätze, 1926 - 1931 .
ms. [ north ryde: ] australian film and television school [ 1984 ], 25 pp .
. münster: maks publikationen 1987, 310 pp. (film - und fernsehwissenschaftliche arbeiten .) .
interview. excessive stress on dialogue renders the film slow and non - dynamic. asserts that the uses of silence, expressive sounds of nature, integral music, and the combination of visible and audible montage are problems receiving careful consideration in soviet cinema .
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deals with the necessity of translation of films and analyses the process, both with subtitles and dubbing .
outline history of the technical development of the cinema concerning a camera which records both vision and sound .
( 1974) the taking of pelham 123: the great train robbery acid sound trip. in :
analysis of the soundtrack; music; psychology of the seeing - hearing relationship. noises are primary .
[ sections on sound: ] film style and technology in the thirties: sound. in: weis & belton 1985, pp. 37 - 43 .
, works well, with jack norton filling in nicely for what would have been an arthur houseman role back in the roach days. other borrowed bits also play well, and for the first time in what seems like ages, babe is back to doing reactions straight into the camera throughout the whole film .
( 1985) the felicity of ideology: speech - acts and the
happy - ending
in american films of the 1940' s. in :
( 1938) das problem des plastischen tons im film. vortrag vor der deutschen kinotechnischen gesellschaft. in :
[ engl. : ] theory of the film. character and growth of a new art. new york: dover 1970, pp. 194 - 241 .
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a survey of the artistic possibilities inherent in three methodologies of synchronization: literal, unedited recording; the purposeful control of sound, allowing the cinematic form greater freedom; and the use of sound as expressionist accompaniment of visual images, as developed by the russian school .
al jols on and the jazz singer; douglas fairbank' s use of sound in the iron mask (1929); and the fox comedies and newsreels .
( 1978) the sounds of silence and things that go
flash
in the night. in :
emphasizes the necessity of limiting oral commentary in instructional films to informative briefs which stress action and advance continuity without distracting attention from the visual image. discusses the advantages of precise synchronization of word and image as opposed to timing which permits the sound track to anticipate the picture .
analysis of authority of tense, voice - over, images; relationships among the film' s dramatic
i
, narrative
i
, and camera .
sous les toits de paris has unusual sound hierarchy - music, speech, noise - which is upset only during climax in the narrative. critical terminology for sound space needs to include
off - track - sound
to parallel off - screen visual space. analysis of clair' s use of spatial dimensions of sound and speech .
now new yorkers have a chance to judge for themselves what ulmer is all about .
detour
( 1945), the vienna - born director' s 68 - minute chef - d' oeuvre, opens a five - day run today at the film forum 2 on a bill with richard fleischer' s
narrow margin
( 1952). the good news :
detour
really is some kind of great movie, not a masterpiece, but one of the defining films of the seductive genre the french critics called film noir .
linda loredo, who plays mrs. laurel, had appeared in several foreign - language versions of several previous short films. this was her only part in an english language laurel and hardy film. she died of peritonitis shortly after the film' s completion at age 24 .
studies the ways in which the complex events of the coming of sound affected production practices of the independent hollywood production companies (known as
poverty row
,
indies
, or
quickie productions
) .
defines sound montage as the interaction of simultaneous visual and aural images, deriving its peculiar quality from the concreteness of the picture and the generalized quality of the sound. finds the capacity of sound for evoking mnemonic images, termed
aural flash - backs
, more effective than visual flash - backs, citing the music in a nous la liberté (1931) as an example .
. new york / london: routledge 1992, vi, 290 pp. (afi film readers .) .
( 1979) semiotics
ante litteram
: notes on pirandello' s reactions to sound film. in :
review of yale franch studies, 60, 1980 (= spec. issue on
film sound
) .
sound and microphone characteristics; sound balance for speech and music; film sound editing; etc. includes glossary .
special section: articles and interviews on dutch cinema in the 1930' s on the occasion of the festival and exhibition
berlijn - amsterdam 1920 - 1940
.
discusses flaubert' s
cinematic
use of aural imagery. compares the complex function of sound in madame bovary to the device of the soundtrack in motion pictures .
the classic and usual technique was to pre - record all the songs before actual production of the film. this was done for several reasons, the main one being that during a musical number people are typically moving around a great deal, and if it were recorded with a boom (overhead) microphone during shooting, the distance between the singer - - usually doing some sort of dance moves - - and the microphone would constantly vary, creating a vocal track that
comes and goes .
in a piece about fritz lang' s
you only live once
( 1937), truffaut once wrote that everyone in it
is both criminal and victim .
that' s another serviceable definition. think of walter neff (fred macmurray) and phyllis dietrichson (barbara stanwyck), the double - crossing lovers in billy wilder' s matchless
double indemnity
( 1944), which is in neither of these retrospectives .
and many claims of
firsts
have sprung from the mists of time. this article seeks to set the
sound man n. b. discusses the work of the boom operator and his relationship to director and cameraman .
can films still be international after the coming of sound? see weinberg' s comment in the same issue .
if they tried (and they did - - a time or two) to record the number live, not only would they have a heck of a time trying to follow the actor around the stage with a mic, and have to have an orchestra present, but the pacing of the song would invariably vary ever so slightly from take to take. then, if this happens, the film editor has a heck of a time assembling the final edited song, because for an editor everything must match and that includes the pacing of a musical number. by lip - syncing to a pre - recorded track, the pacing of the musical number stays exactly the same from take to take and shot to shot, so that in the editing room everything can fall properly into sync .
francis ford coppola / the godfather combs, richard. “coppola’s family plot: the godfather variations. ” film comment 38. 2 (2002): 38 - 44. ferraro, thomas j. “blood in the marketplace: the business of family in the godfather narratives. ” the invention of ethnicity. ed. werner sollors. new york: oxford university press, 1989. 176 - 208. phillips, gene. godfather: the intimate francis ford coppola. lexington: university press of kentucky, 2004 .
it' s possible that one of the reasons
detour
works so well is the almost complete absence of other people. extras appear in some scenes, but most of the time the world looks abandoned, if not quite empty. the moral system is so rotten that al feels guilty when he should be shaking his fist at god, or maybe a policeman. although this is quintessential film noir, the landscapes are mostly shades of pale gray .
following a historical section on the technological and economic domination by the united states (paramount) and germany (tobis) of early french sound film production, analyzes the seminal influences of renoir' s naturalism (la chienne) and grémillon' s poetic realism (la petite lise) .
( 1933a) asynchronism as a principle of sound film. in: pudovkin 1933, pp. 155 - 165 .
( 1933b) rhythmic problems in my first sound film. in: pudovkin 1933, pp. 166 - 174 .
errata and addenda in: film comment 14, 6, nov. - dec. 1978, p. 79 .
the squalor and hopelessnes of the lives it depicts are perfectly reflected in the financially pinched physical production. ulmer can persuade the audience that al and sue are walking up riverside drive late at night with the help of a fog machine and the periodic sightings of lampposts. there are a few location shots, photographed just outside hollywood, but most of the exteriors were done in a studio with rear projection .
as a sort of postscript to the ulmer film, and to neal' s career (he died 18 months after his release from prison), the film forum 2 will present a three - day run (july 31 to aug. 2) of wade williams' s brand - new remake of
detour ,
starring tom neal jr .
there is also something incredibly romantic both about the extreme degree of fatalism expressed in much film noir, and about their doomed heroes, who would not get themselves in the dreadful fixes they do without some kind of fatally romantic flaw .
( 1988) the pursuit of sound: radio, perception, and utopia in the early 20th century. in :
( 1983) researching and restoring pioneer talking pictures: the 70th anniversary of the theatrical release of kinetophone. in :
( 1989) on the track of the vitaphone short. in: bandy 1989, pp. 35 - 41 .
that was the usual response when, in the late 1950' s and early 1960' s, francois truffaut, jean - luc godard and their cahiers du cinema associates would cite edgar g. ulmer as one of the hollywood masters who had been cruelly neglected, not only by the major companies but also by the american critics and the public .
the programs at both theaters are primarily devoted to movies that seldom turn up on television or in the video stores, and that demonstrate the enduring vitality of the mostly modest - budget melodramas regarded in their own day as b pictures .
alan crosland / the jazz singer carringer, robert l. the jazz singer. madison: university of wisconsin press, 1979. knapp, jeffrey. “‘sacred songs popular prices’: secularization in the jazz singer. ” critical inquiry 34. 2 (2008): 313 - 335. rogin, michael. “blackface, white noise: the jewish jazz singer finds his voice. ” critical inquiry 18. 3 (1992): 417 - 453. rosenberg, joel. “what you ain’t heard yet: the languages of the jazz singer. ” prooftexts: a journal of jewish literary history 22. 1 - 2 (2002): 11 - 54 .
sergei eisenstein / battleship potemkin eisenstein, sergei. film form: essays in film theory and the film sense. new york: meridian, 1957. minden, michael. “politics and the silent cinema: the cabinet of dr. caligari and battleship potemkin. ” visions and blueprints: avant - garde culture and radical politics in early twentieth - century europe. ed. edward timms. manchester: manchester university press, 1988. 287 - 306. nichols, bill. “ battleship potemkin (1926): film form and revolution. ” film analysis: a norton reader. ed. jeffrey geiger. new york: w. w. norton, 2005. 158 - 177. wenden, d. j. “ battleship potemkin: film and reality. ” feature films as history. ed. k. r. m. short. london: helm, 1981. 37 - 61 .
reprints from the french ciné - magazine, nos. 4 - 5, 1930. includes articles on stars of yesterday, the paramount cinema in paris, by chaplin, impressions from a film trip to america (by maurice bessy) and an article on the
new phenomenon of sound
.
the big noise is a 1944 comedy film starring stan laurel and oliver hardy . it was produced by sol m. wurtzel and directed by mal st.clair . 
the big noise is a 1944 comedy film starring stan laurel and oliver hardy. it was produced by sol m. wurtzel and directed by mal st.clair.
the big noise is a 1944 comedy film starring stan laurel and oliver hardy. it was produced by sol m. wurtzel and directed by mal st.clair.