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A sound film is a
motion picture A film also called a movie, motion picture, moving picture, picture, photoplay or (slang) flick is a work of visual art that simulates experiences and otherwise communicates ideas, stories, perceptions, feelings, beauty, or atmosphere ...
with synchronized sound, or sound technologically coupled to image, as opposed to a
silent film A silent film is a film with no synchronized recorded sound (or more generally, no audible dialogue). Though silent films convey narrative and emotion visually, various plot elements (such as a setting or era) or key lines of dialogue may, w ...
. The first known public exhibition of projected sound films took place in Paris in 1900, but decades passed before sound motion pictures became commercially practical. Reliable synchronization was difficult to achieve with the early
sound-on-disc Sound-on-disc is a class of sound film processes using a phonograph or other disc to record or play back sound in sync with a motion picture. Early sound-on-disc systems used a mechanical interlock with the movie projector, while more recent syste ...
systems, and amplification and recording quality were also inadequate. Innovations in
sound-on-film Sound-on-film is a class of sound film processes where the sound accompanying a picture is recorded on photographic film, usually, but not always, the same strip of film carrying the picture. Sound-on-film processes can either record an analog ...
led to the first commercial screening of short motion pictures using the technology, which took place in 1923. The primary steps in the commercialization of sound cinema were taken in the mid-to-late 1920s. At first, the sound films which included synchronized dialogue, known as "talking pictures", or "talkies", were exclusively shorts. The earliest
feature-length A feature film or feature-length film is a narrative film (motion picture or "movie") with a running time long enough to be considered the principal or sole presentation in a commercial entertainment program. The term ''feature film'' originall ...
movies with recorded sound included only music and effects. The first feature film originally presented as a talkie (although it had only limited sound sequences) was ''
The Jazz Singer ''The Jazz Singer'' is a 1927 American musical drama film directed by Alan Crosland. It is the first feature-length motion picture with both synchronized recorded music score as well as lip-synchronous singing and speech (in several isolate ...
'', which premiered on October 6, 1927. A major hit, it was made with
Vitaphone Vitaphone was a sound film system used for feature films and nearly 1,000 short subjects made by Warner Bros. and its sister studio First National from 1926 to 1931. Vitaphone was the last major analog sound-on-disc system and the only one ...
, which was at the time the leading brand of sound-on-disc technology. Sound-on-film, however, would soon become the standard for talking pictures. By the early 1930s, the talkies were a global phenomenon. In the United States, they helped secure Hollywood's position as one of the world's most powerful cultural/commercial centers of influence (see
Cinema of the United States The cinema of the United States, consisting mainly of major film studios (also known as Hollywood) along with some independent film, has had a large effect on the global film industry since the early 20th century. The dominant style of Am ...
). In Europe (and, to a lesser degree, elsewhere), the new development was treated with suspicion by many filmmakers and critics, who worried that a focus on dialogue would subvert the unique aesthetic virtues of silent cinema. In
Japan Japan ( ja, 日本, or , and formally , ''Nihonkoku'') is an island country in East Asia. It is situated in the northwest Pacific Ocean, and is bordered on the west by the Sea of Japan, while extending from the Sea of Okhotsk in the n ...
, where the popular film tradition integrated silent movie and live vocal performance ('' benshi''), talking pictures were slow to take root. Conversely, in India, sound was the transformative element that led to the rapid expansion of the nation's film industry.


History


Early steps

The idea of combining motion pictures with recorded sound is nearly as old as the concept of cinema itself. On February 27, 1888, a couple of days after photographic pioneer
Eadweard Muybridge Eadweard Muybridge (; 9 April 1830 – 8 May 1904, born Edward James Muggeridge) was an English photographer known for his pioneering work in photographic studies of motion, and early work in motion-picture projection. He adopted the first ...
gave a lecture not far from the laboratory of
Thomas Edison Thomas Alva Edison (February 11, 1847October 18, 1931) was an American inventor and businessman. He developed many devices in fields such as electric power generation, mass communication, sound recording, and motion pictures. These inventi ...
, the two inventors met privately. Muybridge later claimed that on this occasion, six years before the first commercial motion picture exhibition, he proposed a scheme for sound cinema that would combine his image-casting
zoopraxiscope The zoopraxiscope (initially named ''zoographiscope'' and ''zoogyroscope'') is an early device for displaying moving images and is considered an important predecessor of the movie projector. It was conceived by photographic pioneer Eadweard M ...
with Edison's recorded-sound technology. No agreement was reached, but within a year Edison commissioned the development of the
Kinetoscope The Kinetoscope is an early motion picture exhibition device, designed for films to be viewed by one person at a time through a peephole viewer window. The Kinetoscope was not a movie projector, but it introduced the basic approach that woul ...
, essentially a "peep-show" system, as a visual complement to his
cylinder A cylinder (from ) has traditionally been a three-dimensional solid, one of the most basic of curvilinear geometric shapes. In elementary geometry, it is considered a prism with a circle as its base. A cylinder may also be defined as an ...
phonograph A phonograph, in its later forms also called a gramophone (as a trademark since 1887, as a generic name in the UK since 1910) or since the 1940s called a record player, or more recently a turntable, is a device for the mechanical and analogu ...
. The two devices were brought together as the Kinetophone in 1895, but individual, cabinet viewing of motion pictures was soon to be outmoded by successes in film projection. In 1899, a projected sound-film system known as Cinemacrophonograph or Phonorama, based primarily on the work of Swiss-born inventor François Dussaud, was exhibited in Paris; similar to the Kinetophone, the system required individual use of earphones. An improved cylinder-based system, Phono-Cinéma-Théâtre, was developed by Clément-Maurice Gratioulet and Henri Lioret of France, allowing short films of theater, opera, and ballet excerpts to be presented at the Paris Exposition in 1900. These appear to be the first publicly exhibited films with projection of both image and recorded sound. Phonorama and yet another sound-film system—Théâtroscope—were also presented at the Exposition. Three major problems persisted, leading to motion pictures and sound recording largely taking separate paths for a generation. The primary issue was synchronization: pictures and sound were recorded and played back by separate devices, which were difficult to start and maintain in tandem. Sufficient playback volume was also hard to achieve. While motion picture projectors soon allowed film to be shown to large theater audiences, audio technology before the development of electric amplification could not project satisfactorily to fill large spaces. Finally, there was the challenge of recording fidelity. The primitive systems of the era produced sound of very low quality unless the performers were stationed directly in front of the cumbersome recording devices (acoustical horns, for the most part), imposing severe limits on the sort of films that could be created with live-recorded sound. Cinematic innovators attempted to cope with the fundamental synchronization problem in a variety of ways. An increasing number of motion picture systems relied on
gramophone records A phonograph record (also known as a gramophone record, especially in British English), or simply a record, is an analog sound storage medium in the form of a flat disc with an inscribed, modulated spiral groove. The groove usually starts near ...
—known as
sound-on-disc Sound-on-disc is a class of sound film processes using a phonograph or other disc to record or play back sound in sync with a motion picture. Early sound-on-disc systems used a mechanical interlock with the movie projector, while more recent syste ...
technology. The records themselves were often referred to as "Berliner discs", after one of the primary inventors in the field, German-American
Emile Berliner Emile Berliner (May 20, 1851 – August 3, 1929) originally Emil Berliner, was a German-American inventor. He is best known for inventing the lateral-cut flat disc record (called a "gramophone record" in British and American English) used with a ...
. In 1902,
Léon Gaumont Léon Ernest Gaumont (; 10 May 1864 – 10 August 1946) was a French inventor, engineer, and industrialist who was a pioneer of the motion picture industry. He founded the world’s first and oldest film studio Gaumont Film Company, and worked in ...
demonstrated his sound-on-disc Chronophone, involving an electrical connection he had recently patented, to the French Photographic Society. Four years later, Gaumont introduced the Elgéphone, a compressed-air amplification system based on the Auxetophone, developed by British inventors Horace Short and Charles Parsons. Despite high expectations, Gaumont's sound innovations had only limited commercial success. Despite some improvements, they still did not satisfactorily address the three basic issues with sound film and were expensive as well. For some years, American inventor E. E. Norton's Cameraphone was the primary competitor to the Gaumont system (sources differ on whether the Cameraphone was disc- or cylinder-based); it ultimately failed for many of the same reasons that held back the Chronophone.Altman (2005), pp. 158–65; Altman (1995). In 1913, Edison introduced a new cylinder-based synch-sound apparatus known, just like his 1895 system, as the Kinetophone. Instead of films being shown to individual viewers in the Kinetoscope cabinet, they were now projected onto a screen. The phonograph was connected by an intricate arrangement of pulleys to the film projector, allowing—under ideal conditions—for synchronization. However, conditions were rarely ideal, and the new, improved Kinetophone was retired after little more than a year. By the mid-1910s, the groundswell in commercial sound motion picture exhibition had subsided. Beginning in 1914, '' The Photo-Drama of Creation'', promoting
Jehovah's Witnesses Jehovah's Witnesses is a millenarian restorationist Christian denomination with nontrinitarian beliefs distinct from mainstream Christianity. The group reports a worldwide membership of approximately 8.7 million adherents involved in ...
' conception of humankind's genesis, was screened around the United States: eight hours worth of projected visuals involving both slides and live action, synchronized with separately recorded lectures and musical performances played back on phonograph. Meanwhile, innovations continued on another significant front. In 1900, as part of the research he was conducting on the
photophone The photophone is a telecommunications device that allows transmission of speech on a beam of light. It was invented jointly by Alexander Graham Bell and his assistant Charles Sumner Tainter on February 19, 1880, at Bell's laboratory at 1325 ...
, the German physicist
Ernst Ruhmer Ernst Walter Ruhmer (15 April 1878 – 8 April 1913) was a German physicist. He was best known for investigating practical applications making use of the light-sensitivity properties of selenium, which he employed in developing wireless telephony u ...
recorded the fluctuations of the transmitting arc-light as varying shades of light and dark bands onto a continuous roll of photographic film. He then determined that he could reverse the process and reproduce the recorded sound from this photographic strip by shining a bright light through the running filmstrip, with the resulting varying light illuminating a selenium cell. The changes in brightness caused a corresponding change to the selenium's resistance to electrical currents, which was used to modulate the sound produced in a telephone receiver. He called this invention the
photographophone A photographophone is a device that was first developed by Ernst Ruhmer of Berlin, Germany in 1900. The Photographophone could record and reproduce speech and music through a celluloid film. The process started by speaking into a microphone. The el ...
, which he summarized as: "It is truly a wonderful process: sound becomes electricity, becomes light, causes chemical actions, becomes light and electricity again, and finally sound." Ruhmer began a correspondence with the French-born, London-based Eugene Lauste,Crawford (1931), p. 638. who had worked at Edison's lab between 1886 and 1892. In 1907, Lauste was awarded the first patent for
sound-on-film Sound-on-film is a class of sound film processes where the sound accompanying a picture is recorded on photographic film, usually, but not always, the same strip of film carrying the picture. Sound-on-film processes can either record an analog ...
technology, involving the transformation of sound into light waves that are photographically recorded direct onto
celluloid Celluloids are a class of materials produced by mixing nitrocellulose and camphor, often with added dyes and other agents. Once much more common for its use as photographic film before the advent of safer methods, celluloid's common contemporary ...
. As described by historian Scott Eyman,
It was a double system, that is, the sound was on a different piece of film from the picture.... In essence, the sound was captured by a microphone and translated into light waves via a light valve, a thin ribbon of sensitive metal over a tiny slit. The sound reaching this ribbon would be converted into light by the shivering of the diaphragm, focusing the resulting light waves through the slit, where it would be photographed on the side of the film, on a strip about a tenth of an inch wide.
In 1908, Lauste purchased a photographophone from Ruhmer, with the intention of perfecting the device into a commercial product. Though sound-on-film would eventually become the universal standard for synchronized sound cinema, Lauste never successfully exploited his innovations, which came to an effective dead end. In 1914, Finnish inventor Eric Tigerstedt was granted German patent 309,536 for his sound-on-film work; that same year, he apparently demonstrated a film made with the process to an audience of scientists in Berlin. Hungarian engineer Denes Mihaly submitted his sound-on-film Projectofon concept to the Royal Hungarian Patent Court in 1918; the patent award was published four years later. Whether sound was captured on cylinder, disc, or film, none of the available technology was adequate for big-league commercial purposes, and for many years the heads of the major Hollywood film studios saw little benefit in producing sound motion pictures.


Crucial innovations

A number of technological developments contributed to making sound cinema commercially viable by the late 1920s. Two involved contrasting approaches to synchronized sound reproduction, or playback:


Advanced sound-on-film

In 1919, American inventor
Lee De Forest Lee de Forest (August 26, 1873 – June 30, 1961) was an American inventor and a fundamentally important early pioneer in electronics. He invented the first electronic device for controlling current flow; the three-element " Audion" triode v ...
was awarded several patents that would lead to the first
optical sound Optical sound is a means of storing sound recordings on transparent film. Originally developed for military purposes, the technology first saw widespread use in the 1920s as a sound-on-film format for motion pictures. Optical sound eventually ...
-on-film technology with commercial application. In De Forest's system, the sound track was photographically recorded onto the side of the strip of motion picture film to create a composite, or "married", print. If proper synchronization of sound and picture was achieved in recording, it could be absolutely counted on in playback. Over the next four years, he improved his system with the help of equipment and patents licensed from another American inventor in the field,
Theodore Case Theodore Willard Case (December 12, 1888 – May 13, 1944) was an American chemist and inventor known for the invention of the Movietone sound-on-film system. Early life and education Theodore Willard Case was born in 1888 in Auburn, New Yo ...
. At the
University of Illinois The University of Illinois Urbana-Champaign (U of I, Illinois, University of Illinois, or UIUC) is a public land-grant research university in Illinois in the twin cities of Champaign and Urbana. It is the flagship institution of the Uni ...
, Polish-born research engineer Joseph Tykociński-Tykociner was working independently on a similar process. On June 9, 1922, he gave the first reported U.S. demonstration of a sound-on-film motion picture to members of the
American Institute of Electrical Engineers The American Institute of Electrical Engineers (AIEE) was a United States-based organization of electrical engineers that existed from 1884 through 1962. On January 1, 1963, it merged with the Institute of Radio Engineers (IRE) to form the Insti ...
. As with Lauste and Tigerstedt, Tykociner's system would never be taken advantage of commercially; however, De Forest's soon would. On April 15, 1923, at the New York City's Rivoli Theater, the first commercial screening of motion pictures with sound-on-film took place. This would become the future standard. It consisted of a set of short films varying in length and featuring some of the most popular stars of the 1920s (including
Eddie Cantor Eddie Cantor (born Isidore Itzkowitz; January 31, 1892 – October 10, 1964) was an American comedian, actor, dancer, singer, songwriter, film producer, screenwriter and author. Familiar to Broadway, radio, movie, and early television audiences ...
,
Harry Richman Harry Richman (born Henry Reichman Jr.; August 10, 1895 – November 3, 1972) was an American singer, actor, dancer, comedian, pianist, songwriter, bandleader, and nightclub performer, at his most popular in the 1920s and 1930s. In his peak yea ...
,
Sophie Tucker Sophie Tucker (born Sofia Kalish; January 13, 1886 – February 9, 1966) was an American singer, comedian, actress, and radio personality. Known for her powerful delivery of comical and risqué songs, she was one of the most popular entertaine ...
, and George Jessel among others) doing stage performances such as
vaudeville Vaudeville (; ) is a theatrical genre of variety entertainment born in France at the end of the 19th century. A vaudeville was originally a comedy without psychological or moral intentions, based on a comical situation: a dramatic composition ...
s, musical acts, and speeches which accompanied the screening of the silent feature film ''Bella Donna''. All of them were presented under the banner of De Forest Phonofilms. The set included the 11-minute short film ''From far Seville'' starring
Concha Piquer María de la Concepción Piquer López (13 December 190612 December 1990), better known as Concha Piquer (and sometimes billed as Conchita Piquer), was a Spanish singer and actress. She was known for her work in the '' copla'' form, and she perfor ...
. In 2010, a copy of the tape was found in the U.S. Library of Congress, where it is currently preserved. Critics attending the event praised the novelty but not the sound quality which received negative reviews in general. That June, De Forest entered into an extended legal battle with an employee,
Freeman Harrison Owens Freeman Harrison Owens (July 20, 1890 – December 9, 1979) was an early American filmmaker and aerial photographer. Biography was born in Pine Bluff, Arkansas, the only child of Charles H. Owens and Christabel Harrison. He attended Pine Blu ...
, for title to one of the crucial Phonofilm patents. Although De Forest ultimately won the case in the courts, Owens is today recognized as a central innovator in the field. The following year, De Forest's studio released the first commercial dramatic film shot as a talking picture—the two-reeler ''Love's Old Sweet Song'', directed by
J. Searle Dawley James Searle Dawley (October 4, 1877 – March 30, 1949) was an American film director, producer, screenwriter, stage actor, and playwright. Between 1907 and the mid-1920s, while working for Edison, Rex Motion Picture Company, Famous Playe ...
and featuring
Una Merkel Una Merkel (December 10, 1903 – January 2, 1986) was an American stage, film, radio, and television actress. Merkel was born in Kentucky and acted on stage in New York in the 1920s. She went to Hollywood in 1930 and became a popular film ...
. However, phonofilm's stock in trade was not original dramas but celebrity documentaries, popular music acts, and comedy performances. President
Calvin Coolidge Calvin Coolidge (born John Calvin Coolidge Jr.; ; July 4, 1872January 5, 1933) was the 30th president of the United States from 1923 to 1929. Born in Vermont, Coolidge was a Republican lawyer from New England who climbed up the ladder of Ma ...
, opera singer Abbie Mitchell, and vaudeville stars such as Phil Baker,
Ben Bernie Benjamin Anzelwitz, known professionally as Ben Bernie (May 30, 1891 – October 23, 1943),DeLong, Thomas A. (1996). ''Radio Stars: An Illustrated Biographical Dictionary of 953 Performers, 1920 through 1960''. McFarland & Company, Inc. . P. ...
, Eddie Cantor and
Oscar Levant Oscar Levant (December 27, 1906August 14, 1972) was an American concert pianist, composer, conductor, author, radio game show panelist, television talk show host, comedian and actor. He was awarded a star on the Hollywood Walk of Fame for rec ...
appeared in the firm's pictures. Hollywood remained suspicious, even fearful, of the new technology. As ''
Photoplay ''Photoplay'' was one of the first American film (another name for ''photoplay'') fan magazines. It was founded in 1911 in Chicago, the same year that J. Stuart Blackton founded '' Motion Picture Story,'' a magazine also directed at fans. For mo ...
'' editor James Quirk put it in March 1924, "Talking pictures are perfected, says Dr. Lee De Forest. ''So'' is
castor oil Castor oil is a vegetable oil pressed from castor beans. It is a colourless or pale yellow liquid with a distinct taste and odor. Its boiling point is and its density is 0.961 g/cm3. It includes a mixture of triglycerides in which about ...
." De Forest's process continued to be used through 1927 in the United States for dozens of short Phonofilms; in the UK it was employed a few years longer for both shorts and features by British Sound Film Productions, a subsidiary of British Talking Pictures, which purchased the primary Phonofilm assets. By the end of 1930, the Phonofilm business would be liquidated. In Europe, others were also working on the development of sound-on-film. In 1919, the same year that DeForest received his first patents in the field, three German inventors,
Josef Engl Josef may refer to *Josef (given name) *Josef (surname) * ''Josef'' (film), a 2011 Croatian war film *Musik Josef Musik Josef is a Japanese manufacturer of musical instruments. It was founded by Yukio Nakamura, and is the only company in Japan spe ...
(1893–1942), Hans Vogt (1890–1979), and Joseph Massolle (1889–1957), patented the
Tri-Ergon The Tri-Ergon sound-on-film system was developed from around 1919 by three German inventors, Josef Engl (1893–1942), Joseph Massolle (1889–1957), and Hans Vogt (1890–1979). The system used a photoelectric recording method and a non-standa ...
sound system. On September 17, 1922, the Tri-Ergon group gave a public screening of sound-on-film productions—including a dramatic talkie, ''Der Brandstifter'' (''The Arsonist'') —before an invited audience at the Alhambra Kino in Berlin. By the end of the decade, Tri-Ergon would be the dominant European sound system. In 1923, two Danish engineers, Axel Petersen and Arnold Poulsen, patented a system that recorded sound on a separate filmstrip running parallel with the image reel. Gaumont licensed the technology and briefly put it to commercial use under the name Cinéphone. Domestic competition, however, eclipsed Phonofilm. By September 1925, De Forest and Case's working arrangement had fallen through. The following July, Case joined
Fox Film The Fox Film Corporation (also known as Fox Studios) was an American Independent film production studio formed by William Fox (1879–1952) in 1915, by combining his earlier Greater New York Film Rental Company and Box Office Attractions Film C ...
, Hollywood's third largest
studio A studio is an artist or worker's workroom. This can be for the purpose of acting, architecture, painting, pottery (ceramics), sculpture, origami, woodworking, scrapbooking, photography, graphic design, filmmaking, animation, industrial design ...
, to found the Fox-Case Corporation. The system developed by Case and his assistant, Earl Sponable, given the name Movietone, thus became the first viable sound-on-film technology controlled by a Hollywood movie studio. The following year, Fox purchased the North American rights to the Tri-Ergon system, though the company found it inferior to Movietone and virtually impossible to integrate the two different systems to advantage. In 1927, as well, Fox retained the services of Freeman Owens, who had particular expertise in constructing cameras for synch-sound film.


Advanced sound-on-disc

Parallel with improvements in sound-on-film technology, a number of companies were making progress with systems that recorded movie sound on phonograph discs. In sound-on-disc technology from the era, a phonograph turntable is connected by a mechanical
interlock An interlock is a feature that makes the state of two mechanisms or functions mutually dependent. It may be used to prevent undesired states in a finite-state machine, and may consist of any electrical, electronic, or mechanical devices or system ...
to a specially modified
film projector A movie projector is an opto-mechanical device for displaying motion picture film by projecting it onto a screen. Most of the optical and mechanical elements, except for the illumination and sound devices, are present in movie cameras. Modern ...
, allowing for synchronization. In 1921, the Photokinema sound-on-disc system developed by Orlando Kellum was employed to add synchronized sound sequences to
D. W. Griffith David Wark Griffith (January 22, 1875 – July 23, 1948) was an American film director. Considered one of the most influential figures in the history of the motion picture, he pioneered many aspects of film editing and expanded the art of the n ...
's failed silent film ''
Dream Street Dream Street were an American pop music, pop boy band that was formed in 1999 by Louis Baldonieri and Brian Lukow. The band disbanded in 2002 following a legal dispute between parents of the band members and the band's managers. History The ...
''. A love song, performed by star Ralph Graves, was recorded, as was a sequence of live vocal effects. Apparently, dialogue scenes were also recorded, but the results were unsatisfactory and the film was never publicly screened incorporating them. On May 1, 1921, ''Dream Street'' was re-released, with love song added, at New York City's Town Hall theater, qualifying it—however haphazardly—as the first feature-length film with a live-recorded vocal sequence. However, the sound quality was very poor and no other theaters could show the sound version of the film as no one had the Photokinema sound system installed. On Sunday, May 29, ''Dream Street'' opened at the Shubert Crescent Theater in
Brooklyn Brooklyn () is a borough of New York City, coextensive with Kings County, in the U.S. state of New York. Kings County is the most populous county in the State of New York, and the second-most densely populated county in the United States, be ...
with a program of short films made in Phonokinema. However, business was poor, and the program soon closed. In 1925,
Sam Warner Samuel Louis Warner (born Szmuel Wonsal, August 10, 1885 – October 5, 1927) was an American film producer who was the co-founder and chief executive officer of Warner Bros. He established the studio along with his brothers Harry, Albert, and ...
of Warner Bros., then a small Hollywood studio with big ambitions, saw a demonstration of the Western Electric sound-on-disc system and was sufficiently impressed to persuade his brothers to agree to experiment with using this system at New York City's
Vitagraph Studios Vitagraph Studios, also known as the Vitagraph Company of America, was a United States motion picture studio. It was founded by J. Stuart Blackton and Albert E. Smith in 1897 in Brooklyn, New York, as the American Vitagraph Company. By 1907, ...
, which they had recently purchased. The tests were convincing to the Warner Brothers, if not to the executives of some other picture companies who witnessed them. Consequently, in April 1926 the Western Electric Company entered into a contract with Warner Brothers and W. J. Rich, a financier, giving them an exclusive license for recording and reproducing sound pictures under the Western Electric system. To exploit this license the Vitaphone Corporation was organized with Samuel L. Warner as its president.Crafton (1997), pp. 71–72.
Vitaphone Vitaphone was a sound film system used for feature films and nearly 1,000 short subjects made by Warner Bros. and its sister studio First National from 1926 to 1931. Vitaphone was the last major analog sound-on-disc system and the only one ...
, as this system was now called, was publicly introduced on August 6, 1926, with the premiere of ''
Don Juan Don Juan (), also known as Don Giovanni ( Italian), is a legendary, fictional Spanish libertine who devotes his life to seducing women. Famous versions of the story include a 17th-century play, ''El burlador de Sevilla y convidado de piedra'' ...
''; the first feature-length movie to employ a synchronized sound system of any type throughout, its
soundtrack A soundtrack is recorded music accompanying and synchronised to the images of a motion picture, drama, book, television program, radio program, or video game; a commercially released soundtrack album of music as featured in the soundtrac ...
contained a musical
score Score or scorer may refer to: *Test score, the result of an exam or test Business * Score Digital, now part of Bauer Radio * Score Entertainment, a former American trading card design and manufacturing company * Score Media, a former Canadian ...
and added
sound effects A sound effect (or audio effect) is an artificially created or enhanced sound, or sound process used to emphasize artistic or other content of films, television shows, live performance, animation, video games, music, or other media. Traditi ...
, but no recorded dialogue—in other words, it had been staged and shot as a silent film. Accompanying ''Don Juan'', however, were eight shorts of musical performances, mostly classical, as well as a four-minute filmed introduction by
Will H. Hays William Harrison Hays Sr. (; November 5, 1879 – March 7, 1954) was an American Republican politician. As chairman of the Republican National Committee from 1918–1921, Hays managed the successful 1920 presidential campaign of Warren G. H ...
, president of the
Motion Picture Association of America The Motion Picture Association (MPA) is an American trade association representing the five major film studios of the United States, as well as the video streaming service Netflix. Founded in 1922 as the Motion Picture Producers and Distrib ...
, all with live-recorded sound. These were the first true sound films exhibited by a Hollywood studio. Warner Bros.' '' The Better 'Ole'', technically similar to ''Don Juan'', followed in October. Sound-on-film would ultimately win out over sound-on-disc because of a number of fundamental technical advantages: * Synchronization: no interlock system was completely reliable, and a projectionist's error, or an inexactly repaired film break, or a defect in the soundtrack disc could result in the sound becoming seriously and irrecoverably out of sync with the picture * Editing: discs could not be directly edited, severely limiting the ability to make alterations in their accompanying films after the original release cut * Distribution: phonograph discs added expense and complication to film distribution * Wear and tear: the physical process of playing the discs degraded them, requiring their replacement after approximately twenty screenings Nonetheless, in the early years, sound-on-disc had the edge over sound-on-film in two substantial ways: * Production and capital cost: it was generally less expensive to record sound onto disc than onto film and the exhibition systems—turntable/interlock/projector—were cheaper to manufacture than the complex image-and-audio-pattern-reading projectors required by sound-on-film * Audio quality: phonograph discs, Vitaphone's in particular, had superior
dynamic range Dynamic range (abbreviated DR, DNR, or DYR) is the ratio between the largest and smallest values that a certain quantity can assume. It is often used in the context of signals, like sound and light. It is measured either as a ratio or as a base ...
to most sound-on-film processes of the day, at least during the first few playings; while sound-on-film tended to have better
frequency response In signal processing and electronics, the frequency response of a system is the quantitative measure of the magnitude and phase of the output as a function of input frequency. The frequency response is widely used in the design and analysis of s ...
, this was outweighed by greater
distortion In signal processing, distortion is the alteration of the original shape (or other characteristic) of a signal. In communications and electronics it means the alteration of the waveform of an information-bearing signal, such as an audio signa ...
and
noise Noise is unwanted sound considered unpleasant, loud or disruptive to hearing. From a physics standpoint, there is no distinction between noise and desired sound, as both are vibrations through a medium, such as air or water. The difference aris ...
As sound-on-film technology improved, both of these disadvantages were overcome. The third crucial set of innovations marked a major step forward in both the live recording of sound and its effective playback:


Fidelity electronic recording and amplification

In 1913,
Western Electric The Western Electric Company was an American electrical engineering and manufacturing company officially founded in 1869. A wholly owned subsidiary of American Telephone & Telegraph for most of its lifespan, it served as the primary equipment ma ...
, the manufacturing division of AT&T, acquired the rights to the de Forest
audion The Audion was an electronic detecting or amplifying vacuum tube invented by American electrical engineer Lee de Forest in 1906.De Forest patented a number of variations of his detector tubes starting in 1906. The patent that most clearly covers ...
, the forerunner of the triode
vacuum tube A vacuum tube, electron tube, valve (British usage), or tube (North America), is a device that controls electric current flow in a high vacuum between electrodes to which an electric potential difference has been applied. The type known as ...
. Over the next few years they developed it into a predictable and reliable device that made electronic amplification possible for the first time. Western Electric then branched-out into developing uses for the vacuum tube including public address systems and an electrical recording system for the recording industry. Beginning in 1922, the research branch of Western Electric began working intensively on recording technology for both sound-on-disc and sound-on film synchronised sound systems for motion-pictures. The engineers working on the sound-on-disc system were able to draw on expertise that Western Electric already had in electrical disc recording and were thus able to make faster initial progress. The main change required was to increase the playing time of the disc so that it could match that of a standard reel of 35 mm film. The chosen design used a disc nearly 16 inches (about 40 cm) in diameter rotating at 33 1/3 rpm. This could play for 11 minutes, the running time of 1000 ft of film at 90 ft/min (24 frames/s). Because of the larger diameter the minimum groove velocity of 70 ft/min (14 inches or 356 mm/s) was only slightly less than that of a standard 10-inch 78 rpm commercial disc. In 1925, the company publicly introduced a greatly improved system of electronic audio, including sensitive
condenser microphones A microphone, colloquially called a mic or mike (), is a transducer that converts sound into an electrical signal. Microphones are used in many applications such as telephones, hearing aids, public address systems for concert halls and public ...
and rubber-line recorders (named after the use of a rubber damping band for recording with better frequency response onto a wax master disc). That May, the company licensed entrepreneur Walter J. Rich to exploit the system for commercial motion pictures; he founded Vitagraph, in which Warner Bros. acquired a half interest, just one month later. In April 1926, Warners signed a contract with AT&T for exclusive use of its film sound technology for the redubbed Vitaphone operation, leading to the production of ''Don Juan'' and its accompanying shorts over the following months. During the period when Vitaphone had exclusive access to the patents, the fidelity of recordings made for Warners films was markedly superior to those made for the company's sound-on-film competitors. Meanwhile,
Bell Labs Nokia Bell Labs, originally named Bell Telephone Laboratories (1925–1984), then AT&T Bell Laboratories (1984–1996) and Bell Labs Innovations (1996–2007), is an American industrial research and scientific development company owned by mul ...
—the new name for the AT&T research operation—was working at a furious pace on sophisticated sound amplification technology that would allow recordings to be played back over
loudspeaker A loudspeaker (commonly referred to as a speaker or speaker driver) is an electroacoustic transducer that converts an electrical audio signal into a corresponding sound. A ''speaker system'', also often simply referred to as a "speaker" or ...
s at theater-filling volume. The new moving-coil speaker system was installed in New York's Warners Theatre at the end of July and its patent submission, for what Western Electric called the No. 555 Receiver, was filed on August 4, just two days before the premiere of ''Don Juan''. Late in the year, AT&T/Western Electric created a licensing division, Electrical Research Products Inc. (ERPI), to handle rights to the company's film-related audio technology. Vitaphone still had legal exclusivity, but having lapsed in its royalty payments, effective control of the rights was in ERPI's hands. On December 31, 1926, Warners granted Fox-Case a sublicense for the use of the Western Electric system; in exchange for the sublicense, both Warners and ERPI received a share of Fox's related revenues. The patents of all three concerns were cross-licensed. Superior recording and amplification technology was now available to two Hollywood studios, pursuing two very different methods of sound reproduction. The new year would finally see the emergence of sound cinema as a significant commercial medium.


Travel

In 1929 a "new
RCA Photophone RCA Photophone was the trade name given to one of four major competing technologies that emerged in the American film industry in the late 1920s for synchronizing electrically recorded audio to a motion picture image. RCA Photophone was an opt ...
portable sound and picture reproducing system" was described in the industry journal Projection Engineering. In Australia,
Hoyts The Hoyts Group of companies in Australia and New Zealand includes Hoyts Cinemas and Val Morgan. Hoyts operates more than 450 cinema screens and 55,000 seats, making it Australia's second largest movie exhibitor after Event Hospita ...
and Gilby Talkies Pty., Ltd were touring talking pictures to country towns. The same year the White Star Line installed talking picture equipment on the s.s. Majestic. The features shown on the first voyage were ''
Show Boat ''Show Boat'' is a musical with music by Jerome Kern and book and lyrics by Oscar Hammerstein II. It is based on Edna Ferber's best-selling 1926 novel of the same name. The musical follows the lives of the performers, stagehands and dock worke ...
'' and ''
Broadway Broadway may refer to: Theatre * Broadway Theatre (disambiguation) * Broadway theatre, theatrical productions in professional theatres near Broadway, Manhattan, New York City, U.S. ** Broadway (Manhattan), the street **Broadway Theatre (53rd Stree ...
.''


Triumph of the "talkies"

In February 1927, an agreement was signed by five leading Hollywood movie companies:
Famous Players-Lasky Famous Players-Lasky Corporation was an American motion picture and distribution company formed on June 28, 1916, from the merger of Adolph Zukor's Famous Players Film Company—originally formed by Zukor as Famous Players in Famous Plays—and ...
(soon to be part of Paramount),
Metro-Goldwyn-Mayer Metro-Goldwyn-Mayer Studios Inc., also known as Metro-Goldwyn-Mayer Pictures and abbreviated as MGM, is an American film, television production, distribution and media company owned by amazon (company), Amazon through MGM Holdings, founded o ...
,
Universal Universal is the adjective for universe. Universal may also refer to: Companies * NBCUniversal, a media and entertainment company ** Universal Animation Studios, an American Animation studio, and a subsidiary of NBCUniversal ** Universal TV, a t ...
, First National, and Cecil B. DeMille's small but prestigious
Producers Distributing Corporation Producers Distributing Corporation was a short-lived Hollywood film distribution company, organized in 1924 and dissolved in March 1927. In its brief heyday, film director Cecil B. DeMille was its primary shareholder and major talent. Corporat ...
(PDC). The five studios agreed to collectively select just one provider for sound conversion, and then waited to see what sort of results the front-runners came up with. In May, Warner Bros. sold back its exclusivity rights to ERPI (along with the Fox-Case sublicense) and signed a new royalty contract similar to Fox's for use of Western Electric technology. Fox and Warners pressed forward with sound cinema, moving in different directions both technologically and commercially: Fox moved into newsreels and then scored dramas, while Warners concentrated on talking features. Meanwhile, ERPI sought to corner the market by signing up the five allied studios. The big sound film sensations of the year all took advantage of preexisting celebrity. On May 20, 1927, at New York City's Roxy Theater,
Fox Movietone Movietone News is a newsreel that ran from 1928 to 1963 in the United States. Under the name British Movietone News, it also ran in the United Kingdom from 1929 to 1986, in France also produced by Fox-Europa, in Australia and New Zealand until 197 ...
presented a sound film of the takeoff of
Charles Lindbergh Charles Augustus Lindbergh (February 4, 1902 – August 26, 1974) was an American aviator, military officer, author, inventor, and activist. On May 20–21, 1927, Lindbergh made the first nonstop flight from New York City to Paris, a distance o ...
's celebrated flight to Paris, recorded earlier that day. In June, a Fox sound newsreel depicting his return welcomes in New York City and Washington, D.C., was shown. These were the two most acclaimed sound motion pictures to date. In May, as well, Fox had released the first Hollywood fiction film with synchronized dialogue: the short ''They're Coming to Get Me'', starring comedian Chic Sale. After rereleasing a few silent feature hits, such as '' Seventh Heaven'', with recorded music, Fox came out with its first original Movietone feature on September 23: '' Sunrise: A Song of Two Humans'', by acclaimed German director
F. W. Murnau Friedrich Wilhelm Murnau (born Friedrich Wilhelm Plumpe; December 28, 1888March 11, 1931) was a German film director, producer and screenwriter. He was greatly influenced by Schopenhauer, Nietzsche, Shakespeare and Ibsen plays he had seen at th ...
. As with ''Don Juan'', the film's soundtrack consisted of a musical score and sound effects (including, in a couple of crowd scenes, "wild", nonspecific vocals). Then, on October 6, 1927, Warner Bros.' ''
The Jazz Singer ''The Jazz Singer'' is a 1927 American musical drama film directed by Alan Crosland. It is the first feature-length motion picture with both synchronized recorded music score as well as lip-synchronous singing and speech (in several isolate ...
'' premiered. It was a smash box office success for the mid-level studio, earning a total of $2.625 million in the United States and abroad, almost a million dollars more than the previous record for a Warner Bros. film. Produced with the Vitaphone system, most of the film does not contain live-recorded audio, relying, like ''Sunrise'' and ''Don Juan'', on a score and effects. When the movie's star,
Al Jolson Al Jolson (born Eizer Yoelson; June 9, 1886 – October 23, 1950) was a Lithuanian-American Jewish singer, comedian, actor, and vaudevillian. He was one of the United States' most famous and highest-paid stars of the 1920s, and was self-billed ...
, sings, however, the film shifts to sound recorded on the set, including both his musical performances and two scenes with ad-libbed speech—one of Jolson's character, Jakie Rabinowitz (Jack Robin), addressing a cabaret audience; the other an exchange between him and his mother. The "natural" sounds of the settings were also audible. Though the success of ''The Jazz Singer'' was due largely to Jolson, already established as one of U.S. biggest music stars, and its limited use of synchronized sound hardly qualified it as an innovative sound film (let alone the "first"), the movie's profits were proof enough to the industry that the technology was worth investing in. The development of commercial sound cinema had proceeded in fits and starts before ''The Jazz Singer'', and the film's success did not change things overnight. Influential gossip columnist
Louella Parsons Louella Parsons (born Louella Rose Oettinger; August 6, 1881 – December 9, 1972) was an American movie columnist and a screenwriter. She was retained by William Randolph Hearst because she had championed Hearst's mistress Marion Davies and s ...
' reaction to ''The Jazz Singer'' was badly off the mark: "I have no fear that the screeching sound film will ever disturb our theaters," while MGM head of production
Irving Thalberg Irving Grant Thalberg (May 30, 1899 – September 14, 1936) was an American film producer during the early years of motion pictures. He was called "The Boy Wonder" for his youth and ability to select scripts, choose actors, gather productio ...
called the film "a good gimmick, but that's all it was."Fleming, E.J., The Fixers, McFarland & Co., 2005, pg. 78 Not until May 1928 did the group of four big studios (PDC had dropped out of the alliance), along with
United Artists United Artists Corporation (UA), currently doing business as United Artists Digital Studios, is an American digital production company. Founded in 1919 by D. W. Griffith, Charlie Chaplin, Mary Pickford, and Douglas Fairbanks, the stu ...
and others, sign with ERPI for conversion of production facilities and theaters for sound film. It was a daunting commitment; revamping a single theater cost as much as $15,000 (the equivalent of $220,000 in 2019), and there were more than 20,000 movie theaters in the United States. By 1930, only half of the theaters had been wired for sound. Initially, all ERPI-wired theaters were made Vitaphone-compatible; most were equipped to project Movietone reels as well. However, even with access to both technologies, most of the Hollywood companies remained slow to produce talking features of their own. No studio besides Warner Bros. released even a part-talking feature until the low-budget-oriented Film Booking Offices of America (FBO) premiered '' The Perfect Crime'' on June 17, 1928, eight months after ''The Jazz Singer''. FBO had come under the effective control of a Western Electric competitor,
General Electric General Electric Company (GE) is an American multinational conglomerate founded in 1892, and incorporated in New York state and headquartered in Boston. The company operated in sectors including healthcare, aviation, power, renewable ene ...
's
RCA The RCA Corporation was a major American electronics company, which was founded as the Radio Corporation of America in 1919. It was initially a patent trust owned by General Electric (GE), Westinghouse, AT&T Corporation and United Fruit Comp ...
division, which was looking to market its new sound-on-film system,
Photophone The photophone is a telecommunications device that allows transmission of speech on a beam of light. It was invented jointly by Alexander Graham Bell and his assistant Charles Sumner Tainter on February 19, 1880, at Bell's laboratory at 1325 ...
. Unlike Fox-Case's Movietone and De Forest's Phonofilm, which were variable-density systems, Photophone was a variable-area system—a refinement in the way the audio signal was inscribed on film that would ultimately become the standard. (In both sorts of systems, a specially-designed lamp, whose exposure to the film is determined by the audio input, is used to record sound photographically as a series of minuscule lines. In a variable-density process, the lines are of varying darkness; in a variable-area process, the lines are of varying width.) By October, the FBO-RCA alliance would lead to the creation of Hollywood's newest major studio,
RKO Pictures RKO Radio Pictures Inc., commonly known as RKO Pictures or simply RKO, was an American film production and distribution company, one of the "Big Five" film studios of Hollywood's Golden Age. The business was formed after the Keith-Albee-Orph ...
. Meanwhile, Warner Bros. had released three more talkies, all profitable, if not at the level of ''The Jazz Singer'': In March, '' Tenderloin'' appeared; it was billed by Warners as the first feature in which characters spoke their parts, though only 15 of its 88 minutes had dialogue. ''
Glorious Betsy ''Glorious Betsy'' is a 1928 silent film with talking sequences. It is based on the 1908 play of the same name by Rida Johnson Young, and it stars Dolores Costello. It was produced by Warner Bros. and nominated for an Academy Award for Best Wr ...
'' followed in April, and ''
The Lion and the Mouse The Lion and the Mouse is one of Aesop's Fables, numbered 150 in the Perry Index. There are also Eastern variants of the story, all of which demonstrate mutual dependence regardless of size or status. In the Renaissance the fable was provided wi ...
'' (31 minutes of dialogue) in May. On July 6, 1928, the first all-talking feature, '' Lights of New York'', premiered. The film cost Warner Bros. only $23,000 to produce, but grossed $1,252,000, a record rate of return surpassing 5,000%. In September, the studio released another Al Jolson part-talking picture, '' The Singing Fool'', which more than doubled ''The Jazz Singers earnings record for a Warner Bros. movie. This second Jolson screen smash demonstrated the movie musical's ability to turn a song into a national hit: inside of nine months, the Jolson number " Sonny Boy" had racked up 2 million record and 1.25 million sheet music sales. September 1928 also saw the release of Paul Terry's '' Dinner Time'', among the first
animated cartoon Animation is a method by which still figures are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today, most ani ...
s produced with synchronized sound. Soon after he saw it,
Walt Disney Walter Elias Disney (; December 5, 1901December 15, 1966) was an American animator, film producer and entrepreneur. A pioneer of the American animation industry, he introduced several developments in the production of cartoons. As a film p ...
released his first sound picture, the
Mickey Mouse Mickey Mouse is an animated cartoon Character (arts), character co-created in 1928 by Walt Disney and Ub Iwerks. The longtime mascot of The Walt Disney Company, Mickey is an Anthropomorphism, anthropomorphic mouse who typically wears red sho ...
short '' Steamboat Willie''. Over the course of 1928, as Warner Bros. began to rake in huge profits due to the popularity of its sound films, the other studios quickened the pace of their conversion to the new technology. Paramount, the industry leader, put out its first talkie in late September, '' Beggars of Life''; though it had just a few lines of dialogue, it demonstrated the studio's recognition of the new medium's power. '' Interference'', Paramount's first all-talker, debuted in November. The process known as "goat glanding" briefly became widespread: soundtracks, sometimes including a smatter of post-dubbed dialogue or song, were added to movies that had been shot, and in some cases released, as silents. A few minutes of singing could qualify such a newly endowed film as a "musical." (Griffith's ''Dream Street'' had essentially been a "goat gland.") Expectations swiftly changed, and the sound "fad" of 1927 became standard procedure by 1929. In February 1929, sixteen months after ''The Jazz Singers debut,
Columbia Pictures Columbia Pictures Industries, Inc. is an American film production studio that is a member of the Sony Pictures Motion Picture Group, a division of Sony Pictures Entertainment, which is one of the Big Five studios and a subsidiary of the mu ...
became the last of the eight studios that would be known as " majors" during Hollywood's Golden Age to release its first part-talking feature, '' The Lone Wolf's Daughter''. In late May, the first all-color, all-talking feature, Warner Bros.' '' On with the Show!'', premiered. Yet most American movie theaters, especially outside of urban areas, were still not equipped for sound: while the number of sound cinemas grew from 100 to 800 between 1928 and 1929, they were still vastly outnumbered by silent theaters, which had actually grown in number as well, from 22,204 to 22,544. The studios, in parallel, were still not entirely convinced of the talkies' universal appeal—until mid-1930, the majority of Hollywood movies were produced in dual versions, silent as well as talking. Though few in the industry predicted it, silent film as a viable commercial medium in the United States would soon be little more than a memory. ''Points West'', a Hoot Gibson
Western Western may refer to: Places *Western, Nebraska, a village in the US *Western, New York, a town in the US *Western Creek, Tasmania, a locality in Australia *Western Junction, Tasmania, a locality in Australia *Western world, countries that id ...
released by Universal Pictures in August 1929, was the last purely silent mainstream feature put out by a major Hollywood studio.


Transition: Europe

''The Jazz Singer'' had its European sound premiere at the
Piccadilly Theatre The Piccadilly Theatre is a West End theatre located at 16 Denman Street, behind Piccadilly Circus and adjacent to the Regent Palace Hotel, in the City of Westminster, London, England. Early years Built by Bertie Crewe and Edward A. Stone ...
in London on September 27, 1928. According to film historian Rachael Low, "Many in the industry realized at once that a change to sound production was inevitable." On January 16, 1929, the first European feature film with a synchronized vocal performance and recorded score premiered: the German production '' Ich küsse Ihre Hand, Madame'' (''I Kiss Your Hand, Madame''). Dialogueless, it contains only a few songs performed by
Richard Tauber Richard Tauber (16 May 1891 – 8 January 1948) was an Austrian tenor and film actor. Early life Richard Tauber was born in Linz, Austria, to Elisabeth Seifferth (née Denemy), a widow and an actress who played soubrette roles at the local theat ...
. The movie was made with the sound-on-film system controlled by the German-Dutch firm Tobis, corporate heirs to the
Tri-Ergon The Tri-Ergon sound-on-film system was developed from around 1919 by three German inventors, Josef Engl (1893–1942), Joseph Massolle (1889–1957), and Hans Vogt (1890–1979). The system used a photoelectric recording method and a non-standa ...
concern. With an eye toward commanding the emerging European market for sound film, Tobis entered into a compact with its chief competitor, Klangfilm, a joint subsidiary of Germany's two leading electrical manufacturers. Early in 1929, Tobis and Klangfilm began comarketing their recording and playback technologies. As ERPI began to wire theaters around Europe, Tobis-Klangfilm claimed that the Western Electric system infringed on the Tri-Ergon patents, stalling the introduction of American technology in many places. Just as RCA had entered the movie business to maximize its recording system's value, Tobis also established its own production operations. During 1929, most of the major European filmmaking countries began joining Hollywood in the changeover to sound. Many of the trend-setting European talkies were shot abroad as production companies leased studios while their own were being converted or as they deliberately targeted markets speaking different languages. One of Europe's first two feature-length dramatic talkies was created in still a different sort of twist on multinational moviemaking: '' The Crimson Circle'' was a coproduction between director
Friedrich Zelnik Frederic Zelnik (born Friedrich Zelnik, 17 May 1885 – 29 November 1950) was an Austrian producer, director, and actor. He was one of the most important producers-directors of the German silent cinema. Zelnik achieved success through period oper ...
's Efzet-Film company and British Sound Film Productions (BSFP). In 1928, the film had been released as the silent ''Der Rote Kreis'' in Germany, where it was shot; English dialogue was apparently dubbed in much later using the De Forest Phonofilm process controlled by BSFP's corporate parent. It was given a British trade screening in March 1929, as was a part-talking film made entirely in the UK: '' The Clue of the New Pin'', a British Lion production using the sound-on-disc British Photophone system. In May, ''
Black Waters ''Black Waters'' is a 1929 British/American horror sound film produced by Herbert Wilcox and directed by Marshall Neilan. It was the first British-produced talking picture ever shown in England, but it was actually made in Hollywood since that i ...
'', which British and Dominions Film Corporation promoted as the first UK all-talker, received its initial trade screening; it had been shot completely in Hollywood with a Western Electric sound-on-film system. None of these pictures made much impact. The first successful European dramatic talkie was the all-British ''
Blackmail Blackmail is an act of coercion using the threat of revealing or publicizing either substantially true or false information about a person or people unless certain demands are met. It is often damaging information, and it may be revealed to fa ...
''. Directed by twenty-nine-year-old
Alfred Hitchcock Sir Alfred Joseph Hitchcock (13 August 1899 – 29 April 1980) was an English filmmaker. He is widely regarded as one of the most influential figures in the history of cinema. In a career spanning six decades, he directed over 50 featur ...
, the movie had its London debut June 21, 1929. Originally shot as a silent, ''Blackmail'' was restaged to include dialogue sequences, along with a score and sound effects, before its premiere. A
British International Pictures Associated British Picture Corporation (ABPC), originally British International Pictures (BIP), was a British film production, distribution and exhibition company active from 1927 until 1970 when it was absorbed into EMI. ABPC also owned appr ...
(BIP) production, it was recorded on RCA Photophone, General Electric having bought a share of AEG so they could access the Tobis-Klangfilm markets. ''Blackmail'' was a substantial hit; critical response was also positive—notorious curmudgeon Hugh Castle, for example, called it "perhaps the most intelligent mixture of sound and silence we have yet seen." On August 23, the modest-sized Austrian film industry came out with a talkie: ''G'schichten aus der Steiermark'' (''Stories from Styria''), an Eagle Film–Ottoton Film production. On September 30, the first entirely German-made feature-length dramatic talkie, '' Das Land ohne Frauen'' (''Land Without Women''), premiered. A Tobis Filmkunst production, about one-quarter of the movie contained dialogue, which was strictly segregated from the special effects and music. The response was underwhelming. Sweden's first talkie, ''Konstgjorda Svensson'' (''Artificial Svensson''), premiered on October 14. Eight days later, Aubert Franco-Film came out with '' Le Collier de la reine'' (''The Queen's Necklace''), shot at the Épinay studio near Paris. Conceived as a silent film, it was given a Tobis-recorded score and a single talking sequence—the first dialogue scene in a French feature. On October 31, '' Les Trois masques'' (''The Three Masks'') debuted; a
Pathé Pathé or Pathé Frères (, styled as PATHÉ!) is the name of various French businesses that were founded and originally run by the Pathé Brothers of France starting in 1896. In the early 1900s, Pathé became the world's largest film equipment ...
-Natan film, it is generally regarded as the initial French feature talkie, though it was shot, like ''Blackmail'', at the Elstree studio, just outside London. The production company had contracted with RCA Photophone and Britain then had the nearest facility with the system. The Braunberger-Richebé talkie ''
La Route est belle LA most frequently refers to Los Angeles, the second largest city in the United States. La, LA, or L.A. may also refer to: Arts and entertainment Music * La (musical note), or A, the sixth note * "L.A.", a song by Elliott Smith on ''Figure ...
'' (''The Road Is Fine''), also shot at Elstree, followed a few weeks later. Before the Paris studios were fully sound-equipped—a process that stretched well into 1930—a number of other early French talkies were shot in Germany. The first all-talking German feature, '' Atlantik'', had premiered in Berlin on October 28. Yet another Elstree-made movie, it was rather less German at heart than ''Les Trois masques'' and ''La Route est belle'' were French; a BIP production with a British scenarist and German director, it was also shot in English as ''
Atlantic The Atlantic Ocean is the second-largest of the world's five oceans, with an area of about . It covers approximately 20% of Earth's surface and about 29% of its water surface area. It is known to separate the " Old World" of Africa, Europe ...
''. The entirely German
Aafa-Film Aafa Film or Aafa-Film was a German film production and distribution company which operated during the 1920s and 1930s. Established in 1920 as Radio-Film the company was controlled by the producer Gabriel Levy and the director Rudolf Dworsky. The ...
production ''
It's You I Have Loved ''It's You I Have Loved'' (german: Dich hab ich geliebt) is a 1929 German drama film directed by Rudolf Walther-Fein and starring Mady Christians, Walter Jankuhn, and Hans Stüwe. It is considered the first full sound film to be made in German ...
'' (''Dich hab ich geliebt'') opened three-and-a-half weeks later. It was not "Germany's First Talking Film", as the marketing had it, but it was the first to be released in the United States. In 1930, the first Polish talkies premiered, using sound-on-disc systems: ''Moralność pani Dulskiej'' (''The Morality of Mrs. Dulska'') in March and the all-talking '' Niebezpieczny romans'' (''Dangerous Love Affair'') in October. In Italy, whose once vibrant film industry had become moribund by the late 1920s, the first talkie, '' La Canzone dell'amore'' (''The Song of Love''), also came out in October; within two years, Italian cinema would be enjoying a revival. The first movie spoken in Czech debuted in 1930 as well, '' Tonka Šibenice'' (''Tonka of the Gallows''). Several European nations with minor positions in the field also produced their first talking pictures—Belgium (in French), Denmark, Greece, and Romania. The Soviet Union's robust film industry came out with its first sound features in December 1930: Dziga Vertov's nonfiction ''
Enthusiasm In modern usage, enthusiasm refers to intense enjoyment, interest, or approval expressed by a person. The term is related to playfulness, inventiveness, optimism and high energy. The word was originally used to refer to a person possessed by G ...
'' had an experimental, dialogueless soundtrack;
Abram Room Abram Matveyevich Room (russian: Абрам Матвеевич Роом; 28 June 1894 in Wilno, Russian Empire (now Vilnius, Lithuania) – 26 July 1976 in Moscow) was a Russian film director. He was a People's Artist of the RSFSR and winner of the ...
's documentary ''Plan velikikh rabot'' (''The Plan of the Great Works'') had music and spoken voiceovers. Both were made with locally developed sound-on-film systems, two of the two hundred or so movie sound systems then available somewhere in the world. In June 1931, the
Nikolai Ekk Nikolai Vladimirovich Ekk (russian: Николай Владимирович Экк; 14 June 1902 – 14 July 1976) was a Soviet and Russian film director and screenwriter. "Ekk" was in fact a pseudonym; his real surname was Ivakin (russian: ...
drama '' Putevka v zhizn'' (''The Road to Life'' or ''A Start in Life''), premiered as the Soviet Union's first true talking picture. Throughout much of Europe, conversion of exhibition venues lagged well behind production capacity, requiring talkies to be produced in parallel silent versions or simply shown without sound in many places. While the pace of conversion was relatively swift in Britain—with over 60 percent of theaters equipped for sound by the end of 1930, similar to the U.S. figure—in France, by contrast, more than half of theaters nationwide were still projecting in silence by late 1932. According to scholar Colin G. Crisp, "Anxiety about resuscitating the flow of silent films was frequently expressed in the
rench The Rench is a right-hand tributary of the Rhine in the Ortenau ( Central Baden, Germany). It rises on the southern edge of the Northern Black Forest at Kniebis near Bad Griesbach im Schwarzwald. The source farthest from the mouth is that of the ...
industrial press, and a large section of the industry still saw the silent as a viable artistic and commercial prospect till about 1935." The situation was particularly acute in the Soviet Union; as of May 1933, fewer than one out of every hundred film projectors in the country was as yet equipped for sound.


Transition: Asia

During the 1920s and 1930s, Japan was one of the world's two largest producers of motion pictures, along with the United States. Though the country's film industry was among the first to produce both sound and talking features, the full changeover to sound proceeded much more slowly than in the West. It appears that the first Japanese sound film, ''Reimai'' (''Dawn''), was made in 1926 with the De Forest Phonofilm system. Using the sound-on-disc Minatoki system, the leading
Nikkatsu is a Japanese entertainment company known for its film and television productions. It is Japan's oldest major movie studio, founded in 1912 during the silent film era. The name ''Nikkatsu'' amalgamates the words Nippon Katsudō Shashin, literally ...
studio produced a pair of talkies in 1929: ''Taii no musume'' (''The Captain's Daughter'') and ''Furusato'' (''Hometown''), the latter directed by
Kenji Mizoguchi was a Japanese film director and screenwriter, who directed about one hundred films during his career between 1923 and 1956. His most acclaimed works include ''The Story of the Last Chrysanthemums'' (1939), '' The Life of Oharu'' (1952), ''Ugets ...
. The rival
Shochiku () is a Japanese film and kabuki production and distribution company. It also produces and distributes anime films, in particular those produced by Bandai Namco Filmworks (which has a long-time partnership—the company released most, if not al ...
studio began the successful production of sound-on-film talkies in 1931 using a variable-density process called Tsuchibashi. Two years later, however, more than 80 percent of movies made in the country were still silents.Freiberg (1987), p. 76. Two of the country's leading directors, Mikio Naruse and
Yasujirō Ozu was a Japanese film director and screenwriter. He began his career during the era of silent films, and his last films were made in colour in the early 1960s. Ozu first made a number of short comedies, before turning to more serious themes in t ...
, did not make their first sound films until 1935 and 1936, respectively. As late as 1938, over a third of all movies produced in Japan were shot without dialogue. The enduring popularity of the silent medium in Japanese cinema owed in great part to the tradition of the '' benshi'', a live narrator who performed as accompaniment to a film screening. As director
Akira Kurosawa was a Japanese filmmaker and painter who directed thirty films in a career spanning over five decades. He is widely regarded as one of the most important and influential filmmakers in the history of cinema. Kurosawa displayed a bold, dyna ...
later described, the benshi "not only recounted the plot of the films, they enhanced the emotional content by performing the voices and sound effects and providing evocative descriptions of events and images on the screen.... The most popular narrators were stars in their own right, solely responsible for the patronage of a particular theatre." Film historian Mariann Lewinsky argues,
The end of silent film in the West and in Japan was imposed by the industry and the market, not by any inner need or natural evolution.... Silent cinema was a highly pleasurable and fully mature form. It didn't lack anything, least in Japan, where there was always the human voice doing the dialogues and the commentary. Sound films were not better, just more economical. As a cinema owner you didn't have to pay the wages of musicians and benshi any more. And a good benshi was a star demanding star payment.
By the same token, the viability of the benshi system facilitated a gradual transition to sound—allowing the studios to spread out the capital costs of conversion and their directors and technical crews time to become familiar with the new technology. The Mandarin-language ''Gēnǚ hóng mǔdān'' (, ''Singsong Girl Red Peony''), starring Butterfly Wu, premiered as China's first feature talkie in 1930. By February of that year, production was apparently completed on a sound version of ''The Devil's Playground'', arguably qualifying it as the first Australian talking motion picture; however, the May press screening of Commonwealth Film Contest prizewinner ''Fellers'' is the first verifiable public exhibition of an Australian talkie. In September 1930, a song performed by Indian star Sulochana, excerpted from the silent feature ''Madhuri'' (1928), was released as a synchronized-sound short, the country's first. The following year,
Ardeshir Irani Khan Bahadur Ardeshir Irani (5 December 1886 – 14 October 1969) was a writer, director, producer, actor, film distributor, film showman and cinematographer in the silent and sound eras of early Indian cinema. He was the one of the greatest ...
directed the first Indian talking feature, the Hindi-Urdu ''
Alam Ara ''Alam Ara'' () is a 1931 Indian Hindustani-language historical fantasy film directed and produced by Ardeshir Irani. It revolves on a king and his two wives, Navbahaar and Dilbahaar, who are childless; soon, a ''fakir'' (Muhammad Wazir Khan) ...
'', and produced ''
Kalidas Kālidāsa (''fl.'' 4th–5th century CE) was a Classical Sanskrit author who is often considered ancient India's greatest poet and playwright. His plays and poetry are primarily based on the Vedas, the Rāmāyaṇa, the Mahābhārata and th ...
'', primarily in Tamil with some Telugu. Nineteen-thirty-one also saw the first Bengali-language film, ''Jamai Sasthi'', and the first movie fully spoken in Telugu, ''Bhakta Prahlada''. In 1932, '' Ayodhyecha Raja'' became the first movie in which Marathi was spoken to be released (though ''Sant Tukaram'' was the first to go through the official censorship process); the first Gujarati-language film, ''Narsimha Mehta'', and all-Tamil talkie, ''Kalava'', debuted as well. The next year, Ardeshir Irani produced the first Persian-language talkie, ''Dukhtar-e-loor''. Also in 1933, the first Cantonese-language films were produced in Hong Kong—''Sha zai dongfang'' (''The Idiot's Wedding Night'') and ''Liang xing'' (''Conscience''); within two years, the local film industry had fully converted to sound. Korea, where ''pyonsa'' (or ''byun-sa'') held a role and status similar to that of the Japanese benshi, in 1935 became the last country with a significant film industry to produce its first talking picture: ''Chunhyangjeon'' (/) is based on the seventeenth-century
pansori ' () is a Korean genre of musical storytelling performed by a singer and a drummer. The term ''pansori'' is derived from the Korean words ''pan'' (Hangul: 판) and ''sori'' (Hangul: 소리), the latter of which means "sound." However, ''pan ...
folktale " Chunhyangga", of which as many as fifteen film versions have been made through 2009.


Consequences


Technology

In the short term, the introduction of live sound recording caused major difficulties in production. Cameras were noisy, so a soundproofed cabinet was used in many of the earliest talkies to isolate the loud equipment from the actors, at the expense of a drastic reduction in the ability to move the camera. For a time, multiple-camera shooting was used to compensate for the loss of mobility and innovative studio technicians could often find ways to liberate the camera for particular shots. The necessity of staying within range of still microphones meant that actors also often had to limit their movements unnaturally. ''Show Girl in Hollywood'' (1930), from First National Pictures (which Warner Bros. had taken control of thanks to its profitable adventure into sound), gives a behind-the-scenes look at some of the techniques involved in shooting early talkies. Several of the fundamental problems caused by the transition to sound were soon solved with new camera casings, known as "
blimps A blimp, or non-rigid airship, is an airship (dirigible) without an internal structural framework or a keel. Unlike semi-rigid and rigid airships (e.g. Zeppelins), blimps rely on the pressure of the lifting gas (usually helium, rather than hyd ...
", designed to suppress noise and boom microphones that could be held just out of frame and moved with the actors. In 1931, a major improvement in playback fidelity was introduced: three-way speaker systems in which sound was separated into low, medium, and high frequencies and sent respectively to a large bass "woofer", a midrange driver, and a treble "tweeter." There were consequences, as well, for other technological aspects of the cinema. Proper recording and playback of sound required exact standardization of camera and projector speed. Before sound, 16 Frame rate, frames per second (fps) was the supposed norm, but practice varied widely. Cameras were often Time-lapse, undercranked or Slow motion, overcranked to improve exposures or for dramatic effect. Projectors were commonly run too fast to shorten running time and squeeze in extra shows. Variable frame rate, however, made sound unlistenable, and a new, strict standard of 24 fps was soon established. Sound also forced the abandonment of the noisy Arc lamp, arc lights used for filming in studio interiors. The switch to quiet Incandescence, incandescent illumination in turn required a switch to more expensive film stock. The sensitivity of the new panchromatic film delivered superior image tonal quality and gave directors the freedom to shoot scenes at lower light levels than was previously practical. As David Bordwell describes, technological improvements continued at a swift pace: "Between 1932 and 1935, [Western Electric and RCA] created directional microphones, increased the frequency range of film recording, reduced ground noise ... and extended the volume range." These technical advances often meant new aesthetic opportunities: "Increasing the fidelity of recording ... heightened the dramatic possibilities of vocal timbre, pitch, and loudness." Another basic problem—famously spoofed in the 1952 film ''Singin' in the Rain''—was that some silent-era actors simply did not have attractive voices; though this issue was frequently overstated, there were related concerns about general vocal quality and the casting of performers for their dramatic skills in roles also requiring singing talent beyond their own. By 1935, rerecording of vocals by the original or different actors in postproduction, a process known as "looping", had become practical. The ultraviolet recording system introduced by RCA in 1936 improved the reproduction of sibilants and high notes. With Hollywood's wholesale adoption of the talkies, the competition between the two fundamental approaches to sound-film production was soon resolved. Over the course of 1930–31, the only major players using sound-on-disc, Warner Bros. and First National, changed over to sound-on-film recording. Vitaphone's dominating presence in sound-equipped theaters, however, meant that for years to come all of the Hollywood studios pressed and distributed sound-on-disc versions of their films alongside the sound-on-film prints. Fox Movietone soon followed Vitaphone into disuse as a recording and reproduction method, leaving two major American systems: the variable-area RCA Photophone and Western Electric's own variable-density process, a substantial improvement on the cross-licensed Movietone. Under RCA's instigation, the two parent companies made their projection equipment compatible, meaning films shot with one system could be screened in theaters equipped for the other. This left one big issue—the Tobis-Klangfilm challenge. In May 1930, Western Electric won an Austrian lawsuit that voided protection for certain Tri-Ergon patents, helping bring Tobis-Klangfilm to the negotiating table. The following month an accord was reached on patent cross-licensing, full playback compatibility, and the division of the world into three parts for the provision of equipment. As a contemporary report describes:
Tobis-Klangfilm has the exclusive rights to provide equipment for: Germany, Danzig, Austria, Hungary, Switzerland, Czechoslovakia, Holland, the Dutch Indies, Denmark, Sweden, Norway, Bulgaria, Romania, Yugoslavia, and Finland. The Americans have the exclusive rights for the United States, Canada, Australia, New Zealand, India, and Russia. All other countries, among them Italy, France, and England, are open to both parties.
The agreement did not resolve all the patent disputes, and further negotiations were undertaken and concords signed over the course of the 1930s. During these years, as well, the American studios began abandoning the Western Electric system for RCA Photophone's variable-area approach—by the end of 1936, only Paramount, MGM, and United Artists still had contracts with ERPI.


Labor

While the introduction of sound led to a boom in the motion picture industry, it had an adverse effect on the employability of a host of Hollywood actors of the time. Suddenly those without stage experience were regarded as suspect by the studios; as suggested above, those whose heavy accents or otherwise discordant voices had previously been concealed were particularly at risk. The career of major silent star Norma Talmadge effectively came to an end in this way. The celebrated German actor Emil Jannings returned to Europe. Moviegoers found John Gilbert (actor), John Gilbert's voice an awkward match with his swashbuckling persona, and his star also faded. Audiences now seemed to perceive certain silent-era stars as old-fashioned, even those who had the talent to succeed in the sound era. The career of Harold Lloyd, one of the top screen comedians of the 1920s, declined precipitously. Lillian Gish departed, back to the stage, and other leading figures soon left acting entirely: Colleen Moore, Gloria Swanson, and Hollywood's most famous performing couple, Douglas Fairbanks and Mary Pickford. After his acting career collapsed due to his Danish accent, Karl Dane committed suicide. However, the impact of sound on the careers of film actors should not be exaggerated. One statistical analysis of silent actress career length showed that the five-year ‘survival-rate’ of actresses active in 1922 was only 10% greater than those active after 1927. As actress Louise Brooks suggested, there were other issues as well:
Studio heads, now forced into unprecedented decisions, decided to begin with the actors, the least palatable, the most vulnerable part of movie production. It was such a splendid opportunity, anyhow, for breaking contracts, cutting salaries, and taming the stars.... Me, they gave the salary treatment. I could stay on without the raise my contract called for, or quit, [Paramount studio chief B. P.] Schulberg said, using the questionable dodge of whether I'd be good for the talkies. Questionable, I say, because I spoke decent English in a decent voice and came from the theater. So without hesitation I quit.
Buster Keaton was eager to explore the new medium, but when his studio, MGM, made the changeover to sound, he was quickly stripped of creative control. Though a number of Keaton's early talkies made impressive profits, they were artistically dismal. Several of the new medium's biggest attractions came from vaudeville and the musical theater, where performers such as
Al Jolson Al Jolson (born Eizer Yoelson; June 9, 1886 – October 23, 1950) was a Lithuanian-American Jewish singer, comedian, actor, and vaudevillian. He was one of the United States' most famous and highest-paid stars of the 1920s, and was self-billed ...
,
Eddie Cantor Eddie Cantor (born Isidore Itzkowitz; January 31, 1892 – October 10, 1964) was an American comedian, actor, dancer, singer, songwriter, film producer, screenwriter and author. Familiar to Broadway, radio, movie, and early television audiences ...
, Jeanette MacDonald, and the Marx Brothers were accustomed to the demands of both dialogue and song. James Cagney and Joan Blondell, who had teamed on Broadway, were brought west together by Warner Bros. in 1930. A few actors were major stars during both the silent and the sound eras: John Barrymore, Ronald Colman, Myrna Loy, William Powell, Norma Shearer, the comedy team of Stan Laurel and Oliver Hardy, and Charlie Chaplin, whose ''City Lights'' (1931) and ''Modern Times (film), Modern Times'' (1936) employed sound almost exclusively for music and effects. Janet Gaynor became a top star with the synch-sound but dialogueless ''Seventh Heaven'' and ''Sunrise'', as did Joan Crawford with the technologically similar ''Our Dancing Daughters'' (1928). Greta Garbo was the one non–native English speaker to retain Hollywood stardom on both sides of the great sound divide. Silent film Extra (acting), extra Clark Gable, who had received extensive voice training during his earlier stage career, went on to dominate the new medium for decades; similarly, English actor Boris Karloff, having appeared in dozens of silent films since 1919, found his star ascend in the sound era (though, ironically, it was a non-speaking role in 1931's ''Frankenstein (1931 film), Frankenstein'' that made this happen, but despite having a lisp, he found himself much in demand after). The new emphasis on speech also caused producers to hire many novelists, journalists, and playwrights with experience writing good dialogue. Among those who became Hollywood scriptwriters during the 1930s were Nathanael West, William Faulkner, Robert E. Sherwood, Robert Sherwood, Aldous Huxley, and Dorothy Parker. As talking pictures emerged, with their prerecorded musical tracks, an increasing number of moviehouse orchestra musicians found themselves out of work. More than just their position as film accompanists was usurped; according to historian Preston J. Hubbard, "During the 1920s live musical performances at first-run theaters became an exceedingly important aspect of the American cinema." With the coming of the talkies, those featured performances—usually staged as preludes—were largely eliminated as well. The American Federation of Musicians took out newspaper advertisements protesting the replacement of live musicians with mechanical playing devices. One 1929 ad that appeared in the ''Pittsburgh Press'' features an image of a can labeled "Canned Music / Big Noise Brand / Guaranteed to Produce No Intellectual or Emotional Reaction Whatever" and reads in part:
Canned Music on Trial
This is the case of Art vs. Mechanical Music in theatres. The defendant stands accused in front of the American people of attempted corruption of musical appreciation and discouragement of musical education. Theatres in many cities are offering synchronised mechanical music as a substitute for Real Music. If the theatre-going public accepts this vitiation of its entertainment program a deplorable decline in the Art of Music is inevitable. Musical authorities know that the soul of the Art is lost in mechanization. It cannot be otherwise because the quality of music is dependent on the mood of the artist, upon the human contact, without which the essence of intellectual stimulation and emotional rapture is lost.
By the following year, a reported 22,000 U.S. moviehouse musicians had lost their jobs.


Commerce

In September 1926, Jack L. Warner, head of Warner Bros., was quoted to the effect that talking pictures would never be viable: "They fail to take into account the international language of the silent pictures, and the unconscious share of each onlooker in creating the play, the action, the plot, and the imagined dialogue for himself." Much to his company's benefit, he would be proven very wrong—between the 1927–28 and 1928–29 fiscal years, Warners' profits surged from $2 million to $14 million. Sound film, in fact, was a clear boon to all the major players in the industry. During that same twelve-month span, Paramount's profits rose by $7 million, Fox's by $3.5 million, and Loew's/MGM's by $3 million. RKO, which did not even exist in September 1928 and whose parent production company, FBO, was in the Hollywood minor leagues, by the end of 1929 was established as one of America's leading entertainment businesses. Fueling the boom was the emergence of an important new cinematic genre made possible by sound: the musical. Over sixty Hollywood musicals were released in 1929, and more than eighty the following year. Even as the Wall Street crash of 1929, Wall Street crash of October 1929 helped plunge the United States and ultimately the global economy into Great Depression, depression, the popularity of the talkies at first seemed to keep Hollywood immune. The 1929–30 exhibition season was even better for the motion picture industry than the previous, with ticket sales and overall profits hitting new highs. Reality finally struck later in 1930, but sound had clearly secured Hollywood's position as one of the most important industrial fields, both commercially and culturally, in the United States. In 1929, film box-office receipts comprised 16.6 percent of total spending by Americans on recreation; by 1931, the figure had reached 21.8 percent. The motion picture business would command similar figures for the next decade and a half. Hollywood ruled on the larger stage, as well. The American movie industry—already the world's most powerful—set an export record in 1929 that, by the applied measure of total feet of exposed film, was 27 percent higher than the year before. Concerns that language differences would hamper U.S. film exports turned out to be largely unfounded. In fact, the expense of sound conversion was a major obstacle to many overseas producers, relatively undercapitalized by Hollywood standards. The production of multiple versions of export-bound talkies in different languages (known as "Foreign Language Version"), as well as the production of the cheaper "International Sound Version", a common approach at first, largely ceased by mid-1931, replaced by post-Dubbing (filmmaking), dubbing and subtitling. Despite trade restrictions imposed in most foreign markets, by 1937, American films commanded about 70 percent of screen time around the globe. Just as the leading Hollywood studios gained from sound in relation to their foreign competitors, they did the same at home. As historian Richard B. Jewell describes, "The sound revolution crushed many small film companies and producers who were unable to meet the financial demands of sound conversion." The combination of sound and the Great Depression led to a wholesale shakeout in the business, resulting in the hierarchy of the Big Five integrated companies (MGM, Paramount, Fox, Warner Bros., RKO) and the three smaller studios also called "majors" (Columbia, Universal, United Artists) that would predominate through the 1950s. Historian Thomas Schatz describes the ancillary effects:
Because the studios were forced to streamline operations and rely on their own resources, their individual house styles and corporate personalities came into much sharper focus. Thus the watershed period from the coming of sound into the early Depression saw the studio system finally coalesce, with the individual studios coming to terms with their own identities and their respective positions within the industry.
The other country in which sound cinema had an immediate major commercial impact was India. As one distributor of the period said, "With the coming of the talkies, the Indian motion picture came into its own as a definite and distinctive piece of creation. This was achieved by music." From its earliest days, Indian sound cinema has been defined by the musical—''
Alam Ara ''Alam Ara'' () is a 1931 Indian Hindustani-language historical fantasy film directed and produced by Ardeshir Irani. It revolves on a king and his two wives, Navbahaar and Dilbahaar, who are childless; soon, a ''fakir'' (Muhammad Wazir Khan) ...
'' featured seven songs; a year later, ''Indrasabha'' would feature seventy. While the European film industries fought an endless battle against the popularity and economic muscle of Hollywood, ten years after the debut of ''Alam Ara'', over 90 percent of the films showing on Indian screens were made within the country. Most of India's early talkies were shot in Mumbai, Bombay, which remains the leading production center, but sound filmmaking soon spread across the multilingual nation. Within just a few weeks of ''Alam Aras March 1931 premiere, the Kolkata, Calcutta-based Madan Pictures had released both the Hindi ''Shirin Farhad'' and the Bengali ''Jamai Sasthi''. The Hindustani ''Heer Ranjha'' was produced in Lahore, Punjab region, Punjab, the following year. In 1934, ''Sati Sulochana'', the first Kannada talking picture to be released, was shot in Kolhapur, Maharashtra; ''Srinivasa Kalyanam'' became the first Tamil talkie actually shot in Tamil Nadu. Once the first talkie features appeared, the conversion to full sound production happened as rapidly in India as it did in the United States. Already by 1932, the majority of feature productions were in sound; two years later, 164 of the 172 Indian feature films were talking pictures. Since 1934, with the sole exception of 1952, India has been among the top three movie-producing countries in the world every single year.


Aesthetic quality

In the first, 1930 edition of his global survey ''The Film Till Now'', British cinema pundit Paul Rotha declared, "A film in which the speech and sound effects are perfectly synchronised and coincide with their visual image on the screen is absolutely contrary to the aims of cinema. It is a degenerate and misguided attempt to destroy the real use of the film and cannot be accepted as coming within the true boundaries of the cinema." Such opinions were not rare among those who cared about cinema as an art form; Alfred Hitchcock, though he directed the first commercially successful talkie produced in Europe, held that "the silent pictures were the purest form of cinema" and scoffed at many early sound films as delivering little beside "photographs of people talking". In Germany, Max Reinhardt, stage producer and movie director, expressed the belief that the talkies, "bringing to the screen stage plays ... tend to make this independent art a subsidiary of the theater and really make it only a substitute for the theater instead of an art in itself ... like reproductions of paintings." In the opinion of many film historians and aficionados, both at the time and subsequently, silent film had reached an aesthetic peak by the late 1920s and the early years of sound cinema delivered little that was comparable to the best of the silents. For instance, despite fading into relative obscurity once its era had passed, silent cinema is represented by eleven films in ''Time Out (magazine), Time Outs Centenary of Cinema Top One Hundred poll, held in 1995. The first year in which sound film production predominated over silent film—not only in the United States, but also in the West as a whole—was 1929; yet the years 1929 through 1933 are represented by three dialogueless pictures (''Pandora's Box (1929 film), Pandora's Box'' [1929], ''Earth (1930 film), Zemlya'' [1930], ''City Lights'' [1931]) and zero talkies in the ''Time Out'' poll. (''City Lights'', like ''Sunrise'', was released with a recorded score and sound effects, but is now customarily referred to by historians and industry professionals as a "silent"—spoken dialogue regarded as the crucial distinguishing factor between silent and sound dramatic cinema.) The earliest sound film to place is the French ''L'Atalante'' (1934), directed by Jean Vigo; the earliest Hollywood sound film to qualify is ''Bringing Up Baby'' (1938), directed by Howard Hawks. The first sound feature film to receive near-universal critical approbation was ''Der Blaue Engel'' (''The Blue Angel''); premiering on April 1, 1930, it was directed by Josef von Sternberg in both German and English versions for Berlin's Universum Film AG, UFA studio. The first American talkie to be widely honored was ''All Quiet on the Western Front (1930 film), All Quiet on the Western Front'', directed by Lewis Milestone, which premiered April 21. The other internationally acclaimed sound drama of the year was ''Westfront 1918'', directed by G. W. Pabst for Nero-Film of Berlin. Historian Anton Kaes points to it as an example of "the new verisimilitude [that] rendered silent cinema's former emphasis on the hypnotic gaze and the symbolism of light and shadow, as well as its preference for allegorical characters, anachronistic."Kaes (2009), p. 212. Cultural historians consider the French ''L'Âge d'Or'', directed by Luis Buñuel, which appeared late in 1930, to be of great aesthetic import; at the time, its erotic, blasphemous, anti-bourgeois content caused a scandal. Swiftly banned by Paris police chief Jean Chiappe, it was unavailable for fifty years. The earliest sound movie now acknowledged by most film historians as a masterpiece is Nero-Film's ''M (1931 film), M'', directed by Fritz Lang, which premiered May 11, 1931. As described by Roger Ebert, "Many early talkies felt they had to talk all the time, but Lang allows his camera to prowl through the streets and dives, providing a rat's-eye view."


Cinematic form

"Talking film is as little needed as a singing book." Such was the blunt proclamation of critic Viktor Shklovsky, one of the leaders of the Russian formalism, Russian formalist movement, in 1927. While some regarded sound as irreconcilable with film art, others saw it as opening a new field of creative opportunity. The following year, a group of Soviet filmmakers, including Sergei Eisenstein, proclaimed that the use of image and sound in juxtaposition, the so-called contrapuntal method, would raise the cinema to "...unprecedented power and cultural height. Such a method for constructing the sound-film will not confine it to a national market, as must happen with the photographing of plays, but will give a greater possibility than ever before for the circulation throughout the world of a filmically expressed idea." So far as one segment of the audience was concerned, however, the introduction of sound brought a virtual end to such circulation: Elizabeth C. Hamilton writes, "Silent films offered people who were deaf a rare opportunity to participate in a public discourse, cinema, on equal terms with hearing people. The emergence of sound film effectively separated deaf from hearing audience members once again." On March 12, 1929, the first feature-length talking picture made in Germany had its premiere. The inaugural Tobis Filmkunst production, it was not a drama, but a documentary sponsored by a shipping line: ''Melodie der Welt'' (''Melody of the World''), directed by Walter Ruttmann. This was also perhaps the first feature film anywhere to significantly explore the artistic possibilities of joining the motion picture with recorded sound. As described by scholar William Moritz, the movie is "intricate, dynamic, fast-paced ... juxtapos[ing] similar cultural habits from countries around the world, with a superb orchestral score ... and many synchronized sound effects." Composer Lou Lichtveld was among a number of contemporary artists struck by the film: "''Melodie der Welt'' became the first important sound documentary, the first in which musical and unmusical sounds were composed into a single unit and in which image and sound are controlled by one and the same impulse." ''Melodie der Welt'' was a direct influence on the sponsored film, industrial film ''Philips Radio'' (1931), directed by Dutch avant-garde filmmaker Joris Ivens and scored by Lichtveld, who described its audiovisual aims:
To render the half-musical impressions of factory sounds in a complex audio world that moved from absolute music to the purely documentary noises of nature. In this film every intermediate stage can be found: such as the movement of the machine interpreted by the music, the noises of the machine dominating the musical background, the music itself is the documentary, and those scenes where the pure sound of the machine goes solo.
Many similar experiments were pursued by Dziga Vertov in his 1931 ''Entuziazm'' and by Chaplin in ''Modern Times'', a half-decade later. A few innovative commercial directors immediately saw the ways in which sound could be employed as an integral part of cinematic storytelling, beyond the obvious function of recording speech. In ''Blackmail'', Hitchcock manipulated the reproduction of a character's monologue so the word "knife" would leap out from a blurry stream of sound, reflecting the subjective impression of the protagonist, who is desperate to conceal her involvement in a fatal stabbing. In his first film, the Paramount ''Applause (1929 film), Applause'' (1929), Rouben Mamoulian created the illusion of acoustic depth by varying the volume of ambient sound in proportion to the distance of shots. At a certain point, Mamoulian wanted the audience to hear one character singing at the same time as another prays; according to the director, "They said we couldn't record the two things—the song and the prayer—on one mike and one channel. So I said to the sound man, 'Why not use two mikes and two channels and combine the two tracks in printing?'" Such methods would eventually become standard procedure in popular filmmaking. One of the first commercial films to take full advantage of the new opportunities provided by recorded sound was ''Le Million'', directed by René Clair and produced by Tobis's French division. Premiering in Paris in April 1931 and New York a month later, the picture was both a critical and popular success. A musical comedy with a barebones plot, it is memorable for its formal accomplishments, in particular, its emphatically artificial treatment of sound. As described by scholar Donald Crafton,
''Le Million'' never lets us forget that the acoustic component is as much a construction as the whitewashed sets. [It] replaced dialogue with actors singing and talking in rhyming couplets. Clair created teasing confusions between on- and off-screen sound. He also experimented with asynchronous audio tricks, as in the famous scene in which a chase after a coat is synched to the cheers of an invisible football (or rugby) crowd.
These and similar techniques became part of the vocabulary of the sound comedy film, though as special effects and "color", not as the basis for the kind of comprehensive, non-naturalism (literature), naturalistic design achieved by Clair. Outside of the comedic field, the sort of bold play with sound exemplified by ''Melodie der Welt'' and ''Le Million'' would be pursued very rarely in commercial production. Hollywood, in particular, incorporated sound into a reliable system of genre-based moviemaking, in which the formal possibilities of the new medium were subordinated to the traditional goals of star affirmation and straightforward storytelling. As accurately predicted in 1928 by Frank E. Woods, Frank Woods, secretary of the Academy of Motion Picture Arts and Sciences, "The talking pictures of the future will follow the general line of treatment heretofore developed by the silent drama.... The talking scenes will require different handling, but the general construction of the story will be much the same."Quoted in Bordwell (1985), p. 298. See also Bordwell and Thompson (1995), p. 125.


Further reading

*Cameron, E.W. (1980). ''Sound and Cinema: The Coming of Sound to American Film''. New York and Uxon, UK: Routledge. *Lastra, James (2000). ''Sound Technology and the American Cinema''. New York: Columbia University Press. *Walker, Alexander (1979). ''The Shattered Silents: How the Talkies Came to Stay''. New York: William Morrow and Company.


See also

* :Film sound production for articles concerning the development of cinematic sound recording * Dubbing (filmmaking) * Foley (filmmaking) * History of film * List of film sound systems * Musical film * Sound stage * The American Fotoplayer


Notes


Sources

* Altman, Rick (1995). "The Sound of Sound", ''Cineaste'', vol. 21, January 1 (archive
online
. * Altman, Rick (2005). ''Silent Film Sound'', New York: Columbia University Press. * Anderson, Joseph L., and Donald Richie (1982). ''The Japanese Film: Art and Industry'', expanded ed. Princeton, N.J.: Princeton University Press. * Barnier, Martin (2002). ''En route vers le parlant: histoire d'une évolution technologique, économique et esthétique du cinéma (1926–1934)''. Liège: Editions du Céfal. * Bazin, André (1967 [1958–65]). "Cinema and Exploration", in his ''What Is Cinema?'', trans. and ed. Hugh Gray, pp. 154–163. Berkeley and Los Angeles: University of California Press. * Bernds, Edward (1999). ''Mr. Bernds Goes to Hollywood: My Early Life and Career in Sound Recording at Columbia With Frank Capra and Others''. Lanham, Maryland: Scarecrow Press (excerpte
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. * Bhuyan, Avantika (2006). "Going, Going, Gone...", ''Screen Weekly'', March 31 (availabl
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To the Distant Observer: Form and Meaning in the Japanese Cinema
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External links


Film Sound History
well-organized bibliography of online articles and resources; part of the FilmSound website

charts showing transition to sound production by Hollywood studios, 1928–1929; part of the Terra Media website

comprehensive and detailed listing of first generation of sound films from around the world; part of the Silent Era website

extensive chronology of developments, including subsites, by Steven E. Schoenherr; see, in particular



compiled by Miguel Mera, Royal College of Music, London; part of the School of Sound website
The Silent Film Bookshelf
{{Webarchive, url=https://web.archive.org/web/20110125043406/http://www.cinemaweb.com/silentfilm/bookshelf/ , date=January 25, 2011 links to crucial primary and secondary source documents, a number of which cover the era of transition to sound

informative illustrated survey; part of the American WideScreen Museum website * J. Domańsk
"Mathematical synchronization of image and sound in an animated film"
{{Webarchive, url=https://web.archive.org/web/20160612160738/http://en.synesthesia.domanski.pro/theory/synchronization/ , date=June 12, 2016
1913 add for Vivaphone


Historical writings



1934 essay by filmmaker and theorist Vsevolod Pudovkin
"Dialogue and Sound"
essay by film historian and critic Siegfried Kracauer; first published in his book ''Theory of Film: The Redemption of Physical Reality'' (1960)
"The Film to Come"
essay by producer and composer Guido Bagier; first published in ''Film-Kurier'', January 7, 1928

technical manual covering all major U.S. systems; issued by RCA Photophone, 1930

{{Webarchive, url=https://web.archive.org/web/20091222075347/http://members.optushome.com.au/picturepalace/FilmHistory.html , date=December 22, 2009 chronology by sound-film pioneer E. I. Sponable; first published in ''Journal of the Society of Motion Picture Engineers'', April/May 1947

article on the history of Bell Laboratories' early research into sound film, by Stanley Watkins, Western Electric engineer; first published in ''Bell Laboratories Record'', August 1946

corporate manifesto first published in ''Film-Kurier'', July 20, 1928

article first published in ''Film-Kurier'', July 23, 1930

technical manual for Western Electric theatrical sound projector system; issued by ERPI, December 1928

article first published in ''Film-Kurier'', July 22, 1930

review by film theorist and critic Rudolf Arnheim, ca. 1929
"Sound-Film Confusion"
1929 essay by Rudolf Arnheim

essay by composer Paul Dessau; first published in ''Der Film'', August 1, 1929
"Sound in Films"
essay by director Alberto Cavalcanti; first published in ''Films'', November 1939
"Theory of the Film: Sound"
1945 essay by film theorist and critic Béla Balázs
"What Radio Has Meant to Talking Movies"
prescient essay by Universal sound engineer Charles Feldstead; first published in ''Radio News'', April 1931


Historical films



excerpts from ca. 1924 Phonofilm sound film; on The Red Hot Jazz Archive website
''A Few Minutes with Eddie Cantor''
1924 Phonofilm sound film; on Archive.org
''Gus Visser and His Singing Duck''
1925 Theodore Case Sound Test: Gus Visser and His Singing Duck, Theodore Case sound film; on YouTube
''President Coolidge, Taken on the White House Lawn''
1924 Phonofilm sound film; on Archive.org {{Film genres {{Authority control Audiovisual introductions in 1900 Exposition Universelle (1900) History of film Film and video technology Film sound production Finnish inventions