Film Rhythm after Sound: Technology, Music, and Performance by Lea Jacobs

By Lea Jacobs

The probably easy integration of sound, circulate, and enhancing in movies of the past due Thirties stands in shiny distinction to the awkwardness of the 1st talkies. Film Rhythm after Sound analyzes this evolution through shut exam of significant prototypes of early sound filmmaking, in addition to modern discussions of rhythm, pace, and pacing. Jacobs appears on the rhythmic dimensions of functionality and sound in a various set of case reports: the Eisenstein-Prokofiev collaboration Ivan the Terrible, Disney’s Silly Symphonies and early Mickey Mouse cartoons, musicals through Lubitsch and Mamoulian, and the impeccably timed discussion in Hawks’s motion pictures. Jacobs argues that the hot diversity of sound applied sciences made attainable a miles tighter synchronization of tune, speech, and stream than were the norm with the reside accompaniment of silent movies. Filmmakers within the early years of the transition to sound experimented with assorted technical technique of attaining synchronization and hired quite a few formal concepts for developing rhythmically unified scenes and sequences. track frequently served as a blueprint for rhythm and pacing, as was once the case in mickey mousing, the shut integration of song and stream in animation. notwithstanding, by way of the mid-1930s, filmmakers had additionally won sufficient regulate over discussion recording and modifying to make use of discussion to velocity scenes independently of the track music. Jacobs’s hugely unique research of early sound-film practices offers major new contributions to the fields of movie tune and sound studies.

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