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The transition from the âsilentâ ï¬lm era to that of the sound ï¬lm is an area well researched and widely discussed. Although it is commonly acknowledged that all manner of musical and spoken performances accompanied âsilentâ ï¬lms, what is perhaps less well-known are early attempts, with varying degrees of success, at marrying ï¬lm with recorded synchronised sound. The argument here is that the impediment to the introduction of synchronised sound and ï¬lm was not just the pitfalls of successful synchronisation but more crucially the lack of adequate ampliï¬cation. The story of the transition from silent to sound ï¬lm is also one of the transition from an acoustic to an electric environment. The question is asked âwhat does this mean?â, both for the medium of ï¬lm and the auditorium, and by implication for the audience and their relation to the audible world. This article discusses the emergence of sound ï¬lm, its technology and its impact on the audiences of the time. INTRODUCTION It is sometimes assumed that until the era of the sound ï¬lm the accompaniment was almost always musical, the only exceptions being live commentary or illustrated lecture. However, contrary to this impression, systems of synchronised sound were
The New Soundtrack – Edinburgh University Press
Published: Sep 1, 2011
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