Film Rhythm after Sound: Technology, Music, and Performance

Film Rhythm after Sound: Technology, Music, and Performance


The doubtless easy integration of sound, flow, and enhancing in motion pictures of the overdue Nineteen Thirties stands in vibrant distinction to the awkwardness of the 1st talkies. Film Rhythm after Sound analyzes this evolution through shut exam of vital prototypes of early sound filmmaking, in addition to modern discussions of rhythm, pace, and pacing. Jacobs appears to be like 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 by way of Lubitsch and Mamoulian, and the impeccably timed discussion in Hawks’s motion pictures. Jacobs argues that the recent diversity of sound applied sciences made attainable a miles tighter synchronization of track, speech, and circulation than were the norm with the stay accompaniment of silent motion pictures. Filmmakers within the early years of the transition to sound experimented with diverse technical technique of attaining synchronization and hired quite a few formal concepts for growing rhythmically unified scenes and sequences. tune usually served as a blueprint for rhythm and pacing, as was once the case in mickey mousing, the shut integration of tune and stream in animation. in spite of the fact that, by means of the mid-1930s, filmmakers had additionally received sufficient keep an eye on over discussion recording and enhancing to make use of discussion to velocity scenes independently of the tune music. Jacobs’s hugely unique learn of early sound-film practices presents major new contributions to the fields of movie song and sound studies.

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