2225:, the popularity of the talkies at first seemed to keep Hollywood immune. The 1929â1930 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 industryâalready the world's most powerfulâset 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 "
1919:
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 issueâthe 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:
2214:, 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 wrongâbetween the 1927â1928 and 1928â1929 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.
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2546:, 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."
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272:. 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.
1907:
5302:, orchestras in movie theaters were displaced. The AFM had its first encounter with wholesale unemployment brought about by technology. Within three years, 22,000 theater jobs for musicians who accompanied silent movies were lost, while only a few hundred jobs for musicians performing on soundtracks were created by the new technology. 1928 â While continuing to protest the loss of jobs due to the use of 'canned music' with motion pictures, the AFM set minimum wage scales for Vitaphone, Movietone and phonograph record work. Because synchronizing music with pictures for the movies was particularly difficult, the AFM was able to set high prices for this work."
891:(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.
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equipped for sound by the end of 1930, similar to the U.S. figureâin 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 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.
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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.
237:
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standard 1,000 ft (300 m) 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
1903:âwas 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.
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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.
775:. 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.
642:, 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.
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364:-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,
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531:, 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.
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2356:. 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.
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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.
3881:"was in a distinct second or third tier of attractions compared to the most popular films of the day and even other Vitaphone talkies" (p. 529) offers a skewed perspective. Although the movie was no match for the half-dozen biggest hits of the decade, the available evidence suggests that it was one of the three highest-earning films released in 1927 and that overall its performance was comparable to the other two,
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3371:(1924) when it arrived in the United States the year after its German debutâGeduld (1975), p. 100; Crafton (1997), pp. 66, 564âwhich would make it the first feature film with synchronized sound throughout. There is no consensus, however, concerning when this recording took place or if the film was ever actually presented with synch-sound. For a possible occasion for such a recording, see the August 24, 1925,
2578:. 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 similar cultural habits from countries around the world, with a superb orchestral score ... and many synchronized sound effects." Composer
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516:) âbefore 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 CinĂ©phone.
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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,
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489:." 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.
1167:, 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
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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.
974:, sings, however, the film shifts to sound recorded on the set, including both his musical performances and two scenes with ad-libbed speechâone 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
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22,544. The studios, in parallel, were still not entirely convinced of the talkies' universal appealâuntil 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.
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Hollywood programming yearâthe prime exhibition season began the first week of
September with Labor Day and ran through Memorial Day at the end of May; this was followed by a fourteen-week "open season", when films with minimal expectations were released and many theaters shut down for the hot summer months. See Crafton (1997), pp. 183, 268.
1852:(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 "
924:'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
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418). But in 1913, for instance, the U.S. exported 32 million feet of exposed film (Segrave , p. 65). Crafton says of the 1929 exports, "Of course, most of this footage was silent", though he provides no figures (p. 418). In contrast, if not necessarily contradiction, Segrave points to the following: "At the very end of 1929 the
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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.
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pulleys to the film projector, allowingâunder ideal conditionsâfor 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,
2377:, 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."
1843:(1930), one of the first sound films about sound filmmaking, depicts microphones dangling from the rafters and multiple cameras shooting simultaneously from soundproofed booths. The poster shows a camera unboothed and unblimped, as it might be when shooting a musical number with a prerecorded soundtrack.
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Crafton (1997) describes the term's derivation: "The skeptical press disparagingly referred to these as 'goat glands' ... from outrageous cures for impotency practiced in the 1920s, including restorative elixers, tonics, and surgical procedures. It implied that producers were trying to put some
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never lets us forget that the acoustic component is as much a construction as the whitewashed sets. 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
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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.
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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
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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
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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
275:
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
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This system used an operator adjusted non-linkage form of primitive synchronization. The scenes to be shown were first filmed, and then the performers recorded their dialogue or songs on the Lioretograph (usually a Le Ăclat concert cylinder format phonograph) trying to match tempo with the projected
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began projecting sound motion pictures at 21 Unter den Linden in September 1896 (p. 168), but this seems to be an error. Koerber (1996) notes that after Messter acquired the Cinema Unter den Linden (located in the back room of a restaurant), it reopened under his management on September 21, 1896 (p.
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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
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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
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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
232:
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
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Segrave (1997) gives the figures as 282 million feet in 1929 compared to 222 million feet the year before (p. 79). Crafton (1997) reports the new mark in this peculiar way: "Exports in 1929 set a new record: 282,215,480 feet (against the old record of 9,000,000 feet (2,700,000 m) in 1919)" (p.
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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
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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
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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
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describes, technological improvements continued at a swift pace: "Between 1932 and 1935, 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:
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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
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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 Britainâwith over 60 percent of theaters
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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
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was re-released, with love song added, at New York City's Town Hall theater, qualifying itâhowever haphazardlyâas 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
321:
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
5345:
No great volume of evidence is required to answer this question. Music is a well-nigh universally beloved art. From the beginning of history, men have turned to musical expression to lighten the burdens of life, to make them happier. Aborigines, lowest in the scale of savagery, chant their song to
4486:
See Robertson (2001), pp. 10â14. Robertson claims Switzerland produced its first talkie in 1930, but it has not been possible to independently confirm this. The first talkies from Finland, Hungary, Norway, Portugal, and Turkey appeared in 1931, the first talkies from Ireland (English-language) and
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Lloyd and Robinson (1986), p. 91; Barnier (2002), pp. 25, 29; Robertson (2001), p. 168. Gratioulet went by his given name, Clément-Maurice, and is referred to thus in many sources, including Robertson and Barnier. Robertson incorrectly states that the Phono-Cinéma-Théùtre was a presentation of the
1928:
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 approachâby the end of
1918:
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 1930â1931, the only major players using sound-on-disc, Warner Bros. and First National, changed over to sound-on-film recording.
1257:
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
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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.
778:
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
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Gomery (1985), pp. 66â67. Gomery describes the difference in profits simply between 1928 and 1929, but it seems clear from the figures cited that he is referring to the fiscal years that ended September 30. The fiscal year roughly paralleled (but was still almost a month off from) the traditional
2635:
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
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of Berlin. Historian Anton Kaes points to it as an example of "the new verisimilitude 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." Cultural historians consider the French
2432:, was released with a recorded score and sound effects, but is now customarily referred to by historians and industry professionals as a "silent"âspoken dialogue regarded as the crucial distinguishing factor between silent and sound dramatic cinema.) The earliest sound film to place is the French
1923:
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,
1041:. Unlike Fox-Case's Movietone and De Forest's Phonofilm, which were variable-density systems, Photophone was a variable-area systemâa 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
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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
439:, 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 pictureâthe two-reeler
326:
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
2605:
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
1959:
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
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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
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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
5056:
Bordwell and Thompson (1995), p. 124; Bordwell (1985), pp. 301, 302. Bordwell's assertion in the earlier text, "Until the late 1930s, the post-dubbing of voices gave poor fidelity, so most dialogue was recorded direct" (p. 302), refers to a 1932 source. His later (coauthored) description, which
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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
1198:
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
978:
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.
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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
2393:
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
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Crafton (1997), pp. 51â52; Moone (2004); Ćotysz (2006). Crafton and Ćotysz describe the demonstration as taking place at an AIEE conference. Moone, writing for the journal of the University of Illinois at UrbanaâChampaign's Electrical and Computer Engineering Department, says the audience was
2000:
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 âsurvival-rateâ of actresses active in 1922 was only 10% greater than those active after 1927. As actress
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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
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is sometimes included among the candidates for "first British talkie." In fact, the film was produced and premiered as a silent for its original 1928 release. The stars later came to New York to record dialogue, with which the film was rereleased in June 1929, after much better credentialed
2260:
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
2009:
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
2156:
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
2010:
treatment. I could stay on without the raise my contract called for, or quit, 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.
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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
298:
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
2971:
filmed performance. In showing the films, synchronization of sorts was achieved by adjusting the hand cranked film projector's speed to match the phonograph. the projectionist was equipped with a telephone through which he listened to the phonograph which was located in the orchestra pit.
2625:, 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
961:
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
223:
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,
2401:
s Centenary of Cinema Top One Hundred poll, held in 1995. The first year in which sound film production predominated over silent filmânot only in the United States, but also in the West as a wholeâwas 1929; yet the years 1929 through 1933 are represented by three dialogueless pictures
847:
851:
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A few sources indicate that the film was released in 1923, but the two most recent authoritative histories that discuss the filmâCrafton (1997), p. 66; Hijiya (1992), p. 103âboth give 1924. There are claims that De Forest recorded a synchronized musical score for director
2283:. 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 musicalâ
852:
1272:
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:
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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
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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,
2270:
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
585:
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562:. 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,
1629:
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. Two of the country's leading directors,
711:
Production and capital cost: it was generally less expensive to record sound onto disc than onto film and the exhibition systemsâturntable/interlock/projectorâwere cheaper to manufacture than the complex image-and-audio-pattern-reading projectors required by
5741:
4151:
586:
1514:). Several European nations with minor positions in the field also produced their first talking picturesâBelgium (in French), Denmark, Greece, and Romania. The Soviet Union's robust film industry came out with its first sound features in December 1930:
539:
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
286:' 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.
3893:. It is undisputed that its total earnings were more than double those of the next four Vitaphone talkies; the first three of which, according to Glancy's analysis of in-house Warner Bros. figures, "earned just under $ 1,000,000 each", and the fourth,
1661:
By the same token, the viability of the benshi system facilitated a gradual transition to soundâallowing the studios to spread out the capital costs of conversion and their directors and technical crews time to become familiar with the new technology.
2636:
thingsâthe song and the prayerâon 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.
693:
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
849:
2686:, "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."
4519:, the first Mexican (and Spanish-language) talkie, came out in 1930 or 1931. The first Argentine talkie appeared in 1931 and the first Chilean talkie in 1934. Robertson asserts that the first Cuban feature talkie was a 1930 production called
3455:
Bradley (1996), p. 4; Gomery (2005), p. 29. Crafton (1997) misleadingly implies that Griffith's film had not previously been exhibited commercially before its sound-enhanced premiere. He also misidentifies Ralph Graves as Richard Grace (p.
638:, 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
2017:
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.
1231:, "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
78:. 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
1972:'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
123:). 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
583:
435:, 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,
5346:
tribal gods and play upon pipes and shark-skin drums. Musical development has kept pace with good taste and ethics throughout the ages, and has influenced the gentler nature of man more powerfully perhaps than any other factor.
3213:
4556:), directed by Yuli Raizman, as the first Soviet sound feature. Originally produced and premiered as a silent in 1930, it was rereleased with a non-talking, music-and-effects soundtrack the following year (Rollberg , p. 562).
4049:
The first official releases from RKO, which produced only all-talking pictures, appeared still later in the year, but after the October 1928 merger that created it, the company put out a number of talkies produced by its FBO
4123:
As Thomas J. Saunders (1994) reports, it premiered the same month in Berlin, but as a silent. "Not until June 1929 did Berlin experience the sensation of sound as New York had in 1927âa premiere boasting dialogue and song":
1674:
premiered March 14, 1931, in Bombay. The first Indian talkie was so popular that "police aid had to be summoned to control the crowds." It was shot with the Tanar single-system camera, which recorded sound directly onto the
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performances at first-run theaters became an exceedingly important aspect of the American cinema." With the coming of the talkies, those featured performancesâusually staged as preludesâwere largely eliminated as well. The
201:, 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
784:
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
1362:), 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,
3381:
822:
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
1657:
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.
228:
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 systemâThĂ©Ăątroscopeâwere also presented at the Exposition.
1104:, 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,
5503:
2678:-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
2565:
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:
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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.
1536:) 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
118:
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
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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."
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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
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was "'merely' sonorized, not dialogued" (p. 381), but all other available detailed descriptions (including his own from 1997) mention a dialogue sequence. Crisp gives October 31 as the debut date of
1864:
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
348:
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:
322:
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.
2621:
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
1114:
s 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 "
3706:, perhaps the best online source for details on these developments, though here it fails to note that Fox's original deal for the Western Electric technology involved a sublicensing arrangement.
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was a substantial hit; critical response was also positiveânotorious curmudgeon Hugh Castle, for example, called it "perhaps the most intelligent mixture of sound and silence we have yet seen."
331:
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
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Before the Paris studios were fully sound-equippedâa process that stretched well into 1930âa number of other early French talkies were shot in Germany. The first all-talking German feature,
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explains pneumatic amplification and includes several detailed photographs of Gaumont's Elgéphone, which was apparently a slightly later and more elaborate version of the Chronomégaphone.
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302:, 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."
3221:
2508:, 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
1897:"Increasing the fidelity of recording ... heightened the dramatic possibilities of vocal timbre, pitch, and loudness." Another basic problemâfamously spoofed in the 1952 film
582:
793:âthe new name for the AT&T research operationâwas working at a furious pace on sophisticated sound amplification technology that would allow recordings to be played back over
224:
Phono-Cinéma-Théùtre, 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
6076:
Chatterji, Shoma A. (1999). "The Culture-specific Use of Sound in Indian Cinema", paper presented at International Symposium on Sound in Cinema, London, April 15â18 (available
2662:
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-
492:
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,
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studio near Paris. Conceived as a silent film, it was given a Tobis-recorded score and a single talking sequenceâthe first dialogue scene in a French feature. On October 31,
193:
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
3372:
3000:
Altman (2005), p. 158. If there was a drawback to the Elgéphone, it was apparently not a lack of volume. Dan Gilmore describes its predecessor technology in his 2004 essay
4923:, as 1934, but the most authoritative source to definitively date itâChapman (2003)âgives 1936 (p. 328). The Rajadhyaksha and Willemen (2002) entry gives "1934?" (p. 260).
4487:
Spain and the first in Slovak in 1932, the first Dutch talkie in 1933, and the first Bulgarian talkie in 1934. In the Americas, the first Canadian talkie came out in 1929â
1406:, 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
1171:
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
93:
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 "
2295:
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
1789:) 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:
105:
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
90:
using the technology, which took place in 1923. Before sound-on-film technology became viable, soundtracks for films were commonly played live with organs or pianos.
7456:
1453:) 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.
5514:
1638:, 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.
379:
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
252:
Cinematic innovators attempted to cope with the fundamental synchronization problem in a variety of ways. An increasing number of motion picture systems relied on
1703:), 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
1002:
called the film "a good gimmick, but that's all it was." Not until May 1928 did the group of four big studios (PDC had dropped out of the alliance), along with
497:
4473:, it was shot as a silent film in Germany; soundtracks for Czech, German, and French versions were then recorded at the Gaumont studio in the Paris suburb of
2167:
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:
1155:, 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,
5057:
refers to the viability of looping in 1935, appears to replace the earlier one, as it should: in fact, then and now, most movie dialogue is recorded direct.
4371:
a "feature" as being a minimum of sixty minutes long, this article follows the equally common, and Knowledge-prevalent, standard of forty minutes or longer.
1258:
different languages. One of Europe's first two feature-length dramatic talkies was created in still a different sort of twist on multinational moviemaking:
6789:
6725:
6346:
3873:, which Glancy notes earned $ 1.693 million, foreign and domestic. Historian Douglas Crafton (1997) seeks to downplay the "total domestic gross income" of
3446:, op. cit. A number of sources erroneously state that Owens's and/or the Tri-Ergon patents were essential to the creation of the Fox-Case Movietone system.
2045:, 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:
4901:) was released soon after, though it was actually completed first (Rajadhyaksha and Willemen , pp. 258, 260). A few websites refer to the 1932 version of
4114:, released by Biltmore Pictures in April 1930. Four other silent features, all low-budget Westerns, were also released in early 1930 (Robertson , p. 173).
2526:, "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."
2126:, 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
697:
Editing: discs could not be directly edited, severely limiting the ability to make alterations in their accompanying films after the original release cut
6361:
2122:, who had received extensive voice training during his earlier stage career, went on to dominate the new medium for decades; similarly, English actor
751:
projection system. A Vitaphone disc had a running time of about 11 minutes, enough to match that of a 1,000-foot (300 m) reel of 35 mm film.
4726:
4462:
2851:
1337:(BIP) production, it was recorded on RCA Photophone, General Electric having bought a share of AEG so they could access the Tobis-Klangfilm markets.
501:
1504:), 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,
115:, 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.
3388:, following its American premiere at New York City's Century Theater the night before, which describes the score's performance by a live orchestra.
3008:
2893:
1707:, arguably qualifying it as the first Australian talking motion picture; however, the May press screening of Commonwealth Film Contest prizewinner
519:
US competition eclipsed Phonofilm. By September 1925, De Forest and Case's working arrangement had fallen through. The following July, Case joined
7256:
4907:
as the first Punjabi talkie; the most reliable sources all agree, however, that it is performed in Hindustani. The first Punjabi-language film is
2241:. Despite trade restrictions imposed in most foreign markets, by 1937, American films commanded about 70 percent of screen time around the globe.
451:. However, phonofilm's stock in trade was not original dramas but celebrity documentaries, popular music acts, and comedy performances. President
5738:
4694:
4677:
was the first Japanese feature film to receive American commercial distribution. See Russell (2008), pp. 4, 89, 91â94; Richie (2005), pp. 60â63;
4159:
2161:
took out newspaper advertisements protesting the replacement of live musicians with mechanical playing devices. One 1929 ad that appeared in the
260:
technology. The records themselves were often referred to as "Berliner discs", after one of the primary inventors in the field, German-American
7315:
article on the history of Bell Laboratories' early research into sound film, by Stanley Watkins, Western Electric engineer; first published in
372:
7408:
7394:
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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.
6532:
Lai, Linda (2000). "Hong Kong Cinema in the 1930s: Docility, Social Hygiene, Pleasure-Seeking & the Consolidation of the Film Industry",
952:, the film's soundtrack consisted of a musical score and sound effects (including, in a couple of crowd scenes, "wild", nonspecific vocals).
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finally coalesce, with the individual studios coming to terms with their own identities and their respective positions within the industry.
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7192:
4850:
4200:
3699:
3597:
2306:, which remains the leading production center, but sound filmmaking soon spread across the multilingual nation. Within just a few weeks of
1889:
delivered superior image tonal quality and gave directors the freedom to shoot scenes at lower light levels than was previously practical.
508:
sound system. On September 17, 1922, the Tri-Ergon group gave a public screening of sound-on-film productionsâincluding a dramatic talkie,
493:
133:), talking pictures were slow to take root. Conversely, in India, sound was the transformative element that led to the rapid expansion of
5915:
George Lucas's Blockbusting: A Decade-by-Decade Survey of Timeless Movies Including Untold Secrets of Their Financial and Cultural Success
5722:
6212:
5829:
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1152:
1072:'s inaugural talkie. The film was released in December 1928, two months after Warner Bros. acquired a controlling interest in the studio.
703:
Wear and tear: the physical process of playing the discs degraded them, requiring their replacement after approximately twenty screenings
7226:
2606:
dominating the musical background, the music itself is the documentary, and those scenes where the pure sound of the machine goes solo.
2512:, it was unavailable for fifty years. The earliest sound movie now acknowledged by most film historians as a masterpiece is Nero-Film's
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6254:
5907:
3095:
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380:
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383:. As with Lauste and Tigerstedt, Tykociner's system would never be taken advantage of commercially; however, De Forest's soon would.
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2389:(1930) was celebrated for its expressive re-creation of battlefield sounds, like the doomful whine of an unseen grenade in flight.
1212:
released by Universal Pictures in August 1929, was the last purely silent mainstream feature put out by a major Hollywood studio.
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7079:
4086:
In 1931, two Hollywood studios would release special projects without spoken dialogue (now customarily classified as "silents"):
3910:
1924:
Australia, New Zealand, India, and Russia. All other countries, among them Italy, France, and England, are open to both parties.
1185:
737:
The third crucial set of innovations marked a major step forward in both the live recording of sound and its effective playback:
7060:, ed. Linda Badley, R. Barton Palmer, and Steven Jay Schneider, pp. 95â114. New Brunswick, N.J.: Rutgers University Press.
6264:
Freiberg, Freda (2000). "Comprehensive Connections: The Film Industry, the Theatre and the State in the Early Japanese Cinema",
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205:
with Edison's recorded-sound technology. No agreement was reached, but within a year Edison commissioned the development of the
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8784:
4229:
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would be pursued very rarely in commercial production. Hollywood, in particular, incorporated sound into a reliable system of
719:
to most sound-on-film processes of the day, at least during the first few playings; while sound-on-film tended to have better
7492:
7065:
5922:
4885:
Chapman (2003), p. 328; Rajadhyaksha and Willemen (2002), p. 255; Chatterji (1999), "The First Sound Films"; Bhuyan (2006), "
3802:
3188:
673:
7206:
6613:Ćotysz, SĆawomir (2006). "Contributions of Polish Jews: Joseph TykociĆskiâTykociner (1877â1969), Pioneer of Sound on Film",
5734:
3178:
2967:(part 2 of his essay "Moving Pictures That Talk"), describes the Phono-Cinéma-Théùtre version of synchronized sound cinema:
818:
portable sound and picture reproducing system" was described in the industry journal Projection Engineering. In Australia,
8245:
8034:
7185:
comprehensive and detailed listing of first generation of sound films from around the world; part of the Silent Era website
5348:
Has it remained for the Great Age of Science to snub the Art by setting up in its place a pale and feeble shadow of itself?
912:
The big sound film sensations of the year all took advantage of preexisting celebrity. On May 20, 1927, at New York City's
1352:), an Eagle FilmâOttoton Film production. On September 30, the first entirely German-made feature-length dramatic talkie,
6773:"Outcome of Paris: Accord Signed/Total InterchangeabilityâGlobe Divided into Three Patent ZonesâPatent Exchange" (1930),
4975:
1372:
1315:
capacity, her dialogue was simultaneously recorded offscreen by actress Joan Barry. Ondra's British film career was over.
1275:
289:
Meanwhile, innovations continued on another significant front. In 1900, as part of the research he was conducting on the
156:
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was the one nonânative English speaker to retain Hollywood stardom on both sides of the great sound divide. Silent film
668:, however, were eight shorts of musical performances, mostly classical, as well as a four-minute filmed introduction by
10080:
9832:
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3004:: "Was the Auxetophone loud? It was painfully loud." For a more detailed report of Auxetophone-induced discomfort, see
2021:
Several of the new medium's biggest attractions came from vaudeville and the musical theater, where performers such as
1094:
888:
5955:
Bordwell, David, and Kristin Thompson (1995 ). "Technological Change and Classical Film Style", chap. in Balio, Tino,
3877:, $ 1.97 million (p. 528), but that figure alone would have constituted a record for the studio. Crafton's claim that
1711:
is the first verifiable public exhibition of an Australian talkie. In September 1930, a song performed by Indian star
1180:
337:
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6250:, ed. Tom O'Regan and Brian Shoesmith, pp. 76â80. Perth: History & Film Association of Australia (available
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1960:
otherwise discordant voices had previously been concealed were particularly at risk. The career of major silent star
676:, all with live-recorded sound. These were the first true sound films exhibited by a Hollywood studio. Warner Bros.'
220:
in 1895, but individual, cabinet viewing of motion pictures was soon to be outmoded by successes in film projection.
5653:
4889:: Platinum Jubilee of Sound in Indian Cinema." In March 1934 came the release of the first Kannada talking picture,
4330:
7333:"The Official Communiqué: Foundations of the Sound-Film Accord Sales Prospects for the German Electronics Industry"
7122:
Coca-Colonization and the Cold War: The Cultural Mission of the United States in Austria After the Second World War
7070:"Talking Movies: They'll Never Take, Asserts Film Company's Head" (1926), Associated Press, September 3 (available
3717:
2158:
1268:'s Efzet-Film company and British Sound Film Productions (BSFP). In 1928, the film had been released as the silent
689:
Sound-on-film would ultimately win out over sound-on-disc because of a number of fundamental technical advantages:
527:, to found the Fox-Case Corporation. The system developed by Case and his assistant, Earl Sponable, given the name
3443:
3336:
1494:) in October. In Italy, whose once vibrant film industry had become moribund by the late 1920s, the first talkie,
1161:; though it had just a few lines of dialogue, it demonstrated the studio's recognition of the new medium's power.
313:
technology, involving the transformation of sound into light waves that are photographically recorded direct onto
8949:
8029:
6640:
The History of the British Film 1929â1939: Film Making in 1930s Britain (The History of British Film, Volume VII)
6518:
Koerber, Martin (1996). "Oskar Messter, Film Pioneer: Early Cinema Between Science, Spectacle, and Commerce", in
5886:
Mr. Bernds Goes to Hollywood: My Early Life and Career in Sound Recording at Columbia With Frank Capra and Others
2639:
One of the first commercial films to take full advantage of the new opportunities provided by recorded sound was
1580:
1472:
put it, "in the unforgettable images of this spare and pure story we can discern the effort of an entire nation."
1425:, had premiered in Berlin on October 28. Yet another Elstree-made movie, it was rather less German at heart than
1016:
390:
Newspaper ad for a 1925 presentation of Phonofilm shorts, touting their technological distinction: no phonograph.
7351:"Outcome of Paris: Accord Signed/Total InterchangeabilityâGlobe Divided into Three Patent ZonesâPatent Exchange"
5865:
En route vers le parlant: histoire d'une Ă©volution technologique, Ă©conomique et esthĂ©tique du cinĂ©ma (1926â1934)
5218:
Thomson (1998), pp. 45â46, 90, 167, 689â90, 425â26, 122â24; Wlaschin (1979), pp. 45â46, 54, 67, 148, 113, 16â17.
5147:
Thomson (1998), pp. 288â89, 526â27, 728â29, 229, 585â86: Wlaschin (1979), pp. 20â21, 28â29, 33â34, 18â19, 32â33.
268:
demonstrated his sound-on-disc Chronophone, involving an electrical connection he had recently patented, to the
10085:
9812:
8158:
7969:
7213:
links to crucial primary and secondary source documents, a number of which cover the era of transition to sound
3895:
3748:
2830:
2718:
2704:
2658:
famous scene in which a chase after a coat is synched to the cheers of an invisible football (or rugby) crowd.
2203:
1403:
1260:
1100:
678:
617:
7179:
charts showing transition to sound production by Hollywood studios, 1928â1929; part of the Terra Media website
5609:
1601:), was made in 1926 with the De Forest Phonofilm system. Using the sound-on-disc Minatoki system, the leading
994:
was badly off the mark: "I have no fear that the screeching sound film will ever disturb our theaters," while
376:
9568:
9295:
8912:
8220:
7764:
7587:
6951:
5941:
Bordwell, David (1985). "The Introduction of Sound", chap. in Bordwell, Janet Staiger, and Kristin Thompson,
4872:
3883:
1311:, was an industry favorite, but her accent became an issue when the film was reshot with sound. Without post-
1280:
1191:
1021:
940:
245:
225:
1118:" had racked up 2 million record and 1.25 million sheet music sales. September 1928 also saw the release of
575:
with a program of short films made in Phonokinema. However, business was poor, and the program soon closed.
9951:
9183:
9158:
8009:
7989:
6120:
2404:
1641:
The enduring popularity of the silent medium in Japanese cinema owed in great part to the tradition of the
1496:
1433:
were French; a BIP production with a British scenarist and German director, it was also shot in English as
913:
4742:
4679:
4306:
3244:
10090:
9713:
9285:
8838:
8703:
8392:
7720:
5129:
Crafton (1997), pp. 480, 498, 501â9; Thomson (1998), pp. 732â33, 285â87; Wlaschin (1979), pp. 34, 22, 20.
4469:, it was a Czech-German coproduction. The two claims are not necessarily contradictory. According to the
3806:. Vol. XLVIII, no. 16, 950. Western Australia. August 30, 1929. p. 10 (HOME FINAL EDITION)
2230:
2202:
was the first smash-hit talkie from a studio other than Warner Bros. and the first sound film to win the
1952:
1386:
1333:
was restaged to include dialogue sequences, along with a score and sound effects, before its premiere. A
309:, who had worked at Edison's lab between 1886 and 1892. In 1907, Lauste was awarded the first patent for
278:
120:
7012:
American Films Abroad: Hollywood's Domination of the World's Movie Screens from the 1890s to the Present
4110:(Paramount). The last totally silent feature produced in the United States for general distribution was
3005:
2890:
2666:
design achieved by Clair. Outside of the comedic field, the sort of bold play with sound exemplified by
707:
Nonetheless, in the early years, sound-on-disc had the edge over sound-on-film in two substantial ways:
471:
appeared in the firm's pictures. Hollywood remained suspicious, even fearful, of the new technology. As
9723:
9330:
9173:
7818:
7191:
extensive chronology of developments, including subsites, by Steven E. Schoenherr; see, in particular,
5881:, trans. and ed. Hugh Gray, pp. 154â163. Berkeley and Los Angeles: University of California Press.
3772:
2856:
934:
7347:
technical manual for Western Electric theatrical sound projector system; issued by ERPI, December 1928
6313:
Gomery, Douglas (1985). "The Coming of Sound: Technological Change in the American Film Industry", in
4702:
3281:"ÂżSabĂas que 'El cantor de jazz' no fue realmente la primera pelĂcula sonora de la historia del cine?"
664:, but no recorded dialogueâin other words, it had been staged and shot as a silent film. Accompanying
9733:
9290:
9245:
9153:
8531:
7974:
7934:
7485:
6962:
3367:
2253:
2218:
1735:, primarily in Tamil with some Telugu. Nineteen-thirty-one also saw the first Bengali-language film,
1398:-Natan film, it is generally regarded as the initial French feature talkie, though it was shot, like
552:
sound-on-disc system developed by Orlando Kellum was employed to add synchronized sound sequences to
38:
17:
7176:
6299:
Gomery, Douglas (1980). "Economic Struggle and Hollywood Imperialism: Europe Converts to Sound", in
4003:
totaled $ 75,000 (p. 64). Even if this number is accurate, the rate of return was still over 1,600%.
10075:
9235:
8255:
8250:
8118:
7959:
7582:
6389:(2004), ed. Nora M. Alter and Lutz Koepnick, pp. 130â41. New York and Oxford: Berghahn Books.
4952:
4527:(1937). Nineteen-thirty-one saw the first talkie produced on the African continent: South Africa's
4503:), also appeared in 1929. That year, as well, the first Yiddish talkies were produced in New York:
3636:
3309:
2561:'s description. "It flung the whole earth onto the screen in a jigsaw of visual images and sounds."
2226:
2128:
1542:
1445:
1233:
864:
652:; the first feature-length movie to employ a synchronized sound system of any type throughout, its
9300:
6317:(2005), ed. Andrew Utterson, pp. 53â67. Oxford and New York: Routledge/Taylor & Francis.
5420:
reported that most U.S. talkies went abroad as originally created for domestic screening" (p. 77).
5321:
5191:
See Dardis (1980), pp. 190â91, for an analysis of the profitability of Keaton's early sound films.
9225:
9103:
8555:
8359:
7562:
7533:
7295:
7029:
6303:(1985), ed. Elisabeth Weis and John Belton, pp. 25â36. New York: Columbia University Press.
5889:
4232:(BIP) coproduction (it also spells Zelnik's first name "Frederic"). The authentic BIP production
3001:
2909:
2871:
2663:
1119:
1069:
880:
646:, as this system was now called, was publicly introduced on August 6, 1926, with the premiere of
160:
4208:
3696:
3605:
2534:"Talking film is as little needed as a singing book." Such was the blunt proclamation of critic
1885:
illumination in turn required a switch to more expensive film stock. The sensitivity of the new
1753:
was the first to go through the official censorship process); the first Gujarati-language film,
1652:
responsible for the patronage of a particular theatre." Film historian Mariann Lewinsky argues,
1076:
Meanwhile, Warner Bros. had released three more talkies, all profitable, if not at the level of
9497:
9445:
9310:
9031:
8823:
8632:
8504:
8337:
8240:
8225:
8019:
7907:
5719:
4623:
as 1932 (p. 146; see above for sources for correct 1931 date). He also incorrectly claims that
1899:
1839:
1042:
938:, with recorded music, Fox came out with its first original Movietone feature on September 23:
905:
528:
436:
306:
283:
7235:
6381:
Hamilton, Elizabeth C. (2004). "Deafening Sound and Troubling Silence in Volker Schlöndorff's
2252:(1929), performed in Portuguese. The first Brazilian talkie was also the first anywhere in an
9681:
9240:
8882:
8772:
8429:
7223:
7182:
4302:
3942:
s commercial success; it was a big hit, but not "one of the big box office hits of all time".
3626:
History of Sound Motion Pictures by Edward W. Kellogg, Journal of the SMPTE Vol. 64 June 1955
2107:
1857:
1761:, debuted as well. The next year, Ardeshir Irani produced the first Persian-language talkie,
1719:(1928), was released as a synchronized-sound short, the country's first. The following year,
1321:
1303:
1124:
825:
460:
408:
186:
9718:
7200:
compiled by Miguel Mera, Royal College of Music, London; part of the School of Sound website
6251:
5664:(among the 60 films receiving five or more votes). See also, e.g., Ebert (2002), pp. 274â78.
5253:
5247:
3493:
Historical Development of Sound Films, E.I.Sponable, Journal of the SMPTE Vol. 48 April 1947
3099:
2483:, which premiered April 21. The other internationally acclaimed sound drama of the year was
780:
37:"Talkie" and "Talkies" redirect here. For the adventure games that feature voice-overs, see
10034:
9931:
9827:
9490:
9193:
9058:
8870:
8804:
8215:
8152:
8147:
8024:
7838:
7791:
7673:
7624:
7523:
7478:
7173:
well-organized bibliography of online articles and resources; part of the FilmSound website
6292:
Glancy, H. Mark (1995). "Warner Bros. Film Grosses, 1921â51: The William Schaefer Ledger",
4775:
3674:
3113:
2954:
Gaumont Co.; in fact, it was presented under the aegis of Paul Decauville (Barnier, ibid.).
2935:
53), but no source beside Robertson describes Messter as screening sound films before 1903.
2836:
2627:
2234:
1969:
1506:
1486:
1312:
831:
648:
608:
591:
51:
6961:(translated from the German by James Erskine-Murray), New York: C. Van Nostrand Company. (
1910:
Example of a variable-area sound trackâthe width of the white area is proportional to the
8:
9537:
9410:
9395:
9260:
9163:
9098:
8794:
8755:
8627:
8612:
8439:
8198:
8004:
7979:
7944:
7897:
4919:, also came out in 1935. Many websites echo each other in dating the first Oriya talkie,
4458:
4392:
3571:
2466:
2396:
2198:
2085:
1731:
1163:
872:
558:
432:
244:
and giving the names of eighteen other "famous artists" shown in "living visions" at the
210:
31:
7280:
2500:
2180:
By the following year, a reported 22,000 U.S. moviehouse musicians had lost their jobs.
1781:); within two years, the local film industry had fully converted to sound. Korea, where
1381:
415:, musical acts, and speeches which accompanied the screening of the silent feature film
9941:
9861:
9785:
9671:
9661:
9563:
9455:
9435:
9335:
9315:
9083:
9011:
8917:
8902:
8833:
8538:
8474:
8332:
8312:
8203:
7853:
7774:
7708:
7698:
7661:
7398:
7260:
5971:
The First Hollywood Musicals: A Critical Filmography of 171 Features, 1927 Through 1932
5252:(reprint ed.). Berkeley and Los Angeles: University of California Press. pp.
5026:
4315:
2841:
2299:, over 90 percent of the films showing on Indian screens were made within the country.
2221:
of October 1929 helped plunge the United States and ultimately the global economy into
2142:
2030:
1354:
1245:. The movie was made with the sound-on-film system controlled by the German-Dutch firm
1224:
1201:
986:, and the film's success did not change things overnight. Influential gossip columnist
868:
720:
253:
194:
127:, where the popular film tradition integrated silent movie and live vocal performance (
5959:, pp. 109â41. Berkeley, Los Angeles, and London: University of California Press.
5200:
Thomson (1998), pp. 376â77, 463â64, 487â89; Wlaschin (1979), pp. 57, 103, 118, 121â22.
4367:
gives its release ("sortie") date as November 2. Note finally, where Crisp defines in
3922:
863:
In February 1927, an agreement was signed by five leading Hollywood movie companies:
82:
systems, and amplification and recording quality were also inadequate. Innovations in
55:
10040:
9991:
9780:
9703:
9553:
9507:
9480:
9475:
9465:
9380:
9340:
9118:
9006:
8996:
8922:
8850:
8730:
8575:
8570:
8499:
8454:
8417:
8354:
8342:
8260:
8208:
8142:
8137:
8113:
8081:
7813:
7808:
7557:
7251:
7153:
7139:
7125:
7111:
7097:
7084:
7061:
7047:
7015:
7001:
6987:
6973:
6937:
6923:
6909:
6895:
6881:
6863:
6849:
6828:
6814:
6800:
6764:
6750:
6736:
6710:
6696:
6671:
6657:
6643:
6629:
6604:
6590:
6576:
6562:
6548:
6523:
6509:
6495:
6481:
6467:
6453:
6439:
6427:
Hubbard, Preston J. (1985). "Synchronized Sound and Movie-House Musicians, 1926â29",
6418:
6404:
6390:
6372:
6332:
6318:
6304:
6283:
6237:
6223:
6198:
6184:
6163:
6145:
6131:
6115:
Crawford, Merritt (1931). "Pioneer Experiments of Eugene Lauste in Recording Sound",
6106:
6092:
6067:
6053:
6050:
French Film Theory and Criticism: A History/Anthology, 1907â1939. Volume 2: 1929â1939
6039:
6025:
6009:
5988:
5974:
5960:
5946:
5932:
5918:
5893:
5868:
5854:
5840:
5257:
4866:
4474:
4288:
3889:
3315:
3254:
3184:
2728:
2714:
2700:
2543:
2539:
2470:
2410:
2279:
The other country in which sound cinema had an immediate major commercial impact was
1989:
1886:
1588:
studio, was the first major commercial and critical success of Japanese sound cinema.
1520:
1176:
1082:
921:
876:
639:
217:
167:
9215:
7216:
7124:, trans. Diana M. Wolf. Chapel Hill and London: University of North Carolina Press.
7071:
5718:
There is disagreement on the running time of the film. The Deutsches Filminstitut's
189:(1887â1925) was one of the pioneers of sound-on-film technology. Tigerstedt in 1915.
10011:
10001:
9911:
9839:
9822:
9817:
9738:
9666:
9532:
9527:
9517:
9512:
9460:
9400:
9370:
9325:
9188:
9088:
9001:
8964:
8669:
8617:
8543:
8484:
8397:
8193:
8186:
8076:
7949:
7801:
7786:
7750:
7735:
7668:
7639:
7619:
7528:
7412:
4106:
2632:
2535:
2444:
2394:
obscurity once its era had passed, silent cinema is represented by eleven films in
2222:
2163:
2138:
1408:
1326:
1144:
1129:
1115:
1106:
1057:
1030:
982:
The development of commercial sound cinema had proceeded in fits and starts before
884:
761:
744:
622:
612:(1926), the first major motion picture to premiere with a full-length synchronized
444:
299:
7420:
prescient essay by Universal sound engineer Charles Feldstead; first published in
7342:
6626:
The History of the British Film 1918â1929 (The History of British Film, Volume IV)
6020:
4627:
made no sound films before 1936 (p. 146; see below for Naruse's 1935 sound films).
3167:"members of the Urbana chapter of the American Institute of Electrical Engineers."
2261:
conversion." The combination of sound and the Great Depression led to a wholesale
1980:
departed, back to the stage, and other leading figures soon left acting entirely:
1647:, a live narrator who performed as accompaniment to a film screening. As director
1151:
Over the course of 1928, as Warner Bros. began to rake in huge profits due to the
700:
Distribution: phonograph discs added expense and complication to film distribution
58:, designed for large halls, employed compressed air to amplify the recorded sound.
9961:
9886:
9876:
9871:
9856:
9765:
9708:
9607:
9502:
9420:
9415:
9345:
9280:
9200:
9073:
9068:
9041:
8937:
8735:
8698:
8644:
8637:
8590:
8464:
8434:
8347:
8307:
8302:
8235:
8181:
8166:
8086:
8061:
8056:
7994:
7912:
7902:
7863:
7779:
7703:
7629:
7302:
7289:
7230:
7210:
7203:
7036:
6837:"Representative Kinematograph Shows: Singing Pictures at the Hippodrome" (1907),
6275:
6258:
6052:, ed. Richard Abel, pp. 102â5. Princeton, N.J.: Princeton University Press.
5811:
Quoted in Bordwell (1985), p. 298. See also Bordwell and Thompson (1995), p. 125.
5745:
5726:
5657:
4101:
4087:
3703:
3643:
3385:
3012:
2897:
2846:
2575:
2480:
2457:
2074:
1937:
1794:
1745:
1622:
1571:
1435:
1421:
1265:
1209:
1157:
1098:(31 minutes of dialogue) in May. On July 6, 1928, the first all-talking feature,
999:
987:
957:
900:
734:
As sound-on-film technology improved, both of these disadvantages were overcome.
545:
452:
328:
241:
134:
124:
107:
71:
9595:
7442:
7439:
excerpts from ca. 1924 Phonofilm sound film; on The Red Hot Jazz Archive website
7292:
technical manual covering all major U.S. systems; issued by RCA Photophone, 1930
7150:
The Illustrated Encyclopedia of the World's Greatest Movie Stars and Their Films
4548:
Rollberg (2008), pp. xxvii, 9, 174, 585, 669â70, 679, 733. Several sources name
2455:
The first sound feature film to receive near-universal critical approbation was
1955:
puts it, "sound proved the incongruity of salon prettiness and tenement voice."
1635:
1469:
265:
9946:
9916:
9896:
9758:
9743:
9688:
9646:
9485:
9440:
9430:
9405:
9360:
9350:
9128:
9108:
9078:
9063:
9021:
8986:
8944:
8932:
8927:
8720:
8691:
8580:
8565:
8509:
8364:
8322:
7833:
7649:
7540:
7368:
7170:
6522:, ed. Thomas Elsaesser, pp. 51â61. Amsterdam: Amsterdam University Press.
4470:
2679:
2591:
2485:
2385:
2336:
2211:
2150:
2134:
2116:
2058:
2046:
1985:
1961:
1948:
1893:
1720:
1648:
1370:), premiered on October 14. Eight days later, Aubert Franco-Film came out with
1242:
1088:
1038:
1003:
815:
553:
481:
put it in March 1924, "Talking pictures are perfected, says Dr. Lee De Forest.
478:
456:
261:
67:
9802:
9600:
8892:
7450:
7219:
informative illustrated survey; part of the American WideScreen Museum website
6088:
4983:
4465:(Bologna; November 22â29, 1992), the film was shot in Paris. According to the
2964:
2558:
2505:
2380:
1765:. Also in 1933, the first Cantonese-language films were produced in Hong Kongâ
1344:
On August 23, the modest-sized Austrian film industry came out with a talkie:
10059:
9921:
9901:
9450:
9390:
9375:
9265:
9210:
9205:
9178:
9148:
9113:
8954:
8907:
8897:
8860:
8828:
8818:
8809:
8779:
8649:
8585:
8526:
8521:
8459:
8424:
8369:
8327:
8297:
8287:
8280:
8096:
8044:
8014:
7999:
7954:
7939:
7858:
7725:
7678:
7644:
7604:
7572:
7545:
5285:
4338:
3797:
3743:
3258:
2931:
2579:
2514:
2434:
2374:
2331:
2272:
2146:
2123:
2102:
2062:
2050:
2042:
2034:
2014:
2002:
1993:
1981:
1965:
1929:
1936, only Paramount, MGM, and United Artists still had contracts with ERPI.
1882:
1329:, the movie had its London debut June 21, 1929. Originally shot as a silent,
1297:
1140:
1029:. FBO had come under the effective control of a Western Electric competitor,
917:
765:
716:
661:
524:
428:
404:
400:
365:
361:
357:
310:
257:
202:
198:
164:
83:
79:
9230:
7462:
4836:
Pradeep (2006); Narasimham (2006); Rajadhyaksha and Willemen (2002), p. 254.
2646:
2233:", a common approach at first, largely ceased by mid-1931, replaced by post-
1868:(fps) was the supposed norm, but practice varied widely. Cameras were often
9792:
9775:
9728:
9578:
9522:
9053:
9048:
8979:
8855:
8799:
8750:
8725:
8713:
8444:
8176:
8171:
8108:
8071:
8049:
8039:
7917:
7848:
7828:
7730:
7688:
7594:
7577:
6087:, ed. Stephen Herbert and Luke McKernan. London: BFI Publishing (available
5943:
The Classical Hollywood Cinema: Film Style & Mode of Production to 1960
4624:
4198:
Low (1997a), pp. 178, 203â5; Low (1997b), p. 183; Crafton (1997), pp. 432;
4097:
2861:
2822:
2808:
2794:
2780:
2766:
2509:
2449:
2090:
2070:
2038:
2026:
1977:
1973:
1631:
1515:
1285:
1183:" during Hollywood's Golden Age to release its first part-talking feature,
1137:
1061:
1047:
945:
728:
669:
635:
603:
468:
396:
332:
294:
102:
30:"Talking pictures" redirects here. For the British television channel, see
6211:(1957 ), trans. Jay Leyda, pp. 257â60. New York: Meridian (available
6162:, ed. Kees Bakker, pp. 72â86. Amsterdam: Amsterdam University Press.
3869:
Glancy (1995), p. 4 . The previous highest-grossing Warner Bros. film was
1821:", of which as many as fifteen film versions have been made through 2009.
1749:
became the first movie in which Marathi was spoken to be released (though
1476:
In 1930, the first Polish talkies premiered, using sound-on-disc systems:
898:
Newspaper ad from a fully equipped theater in Tacoma, Washington, showing
10044:
10006:
9986:
9981:
9966:
9956:
9936:
9866:
9844:
9770:
9676:
9617:
9612:
9470:
9275:
9255:
9220:
8969:
8865:
8622:
8607:
8548:
8514:
8292:
8265:
8230:
8101:
8091:
7964:
7924:
7892:
7843:
7759:
7740:
7713:
7609:
7567:
7518:
7384:
6048:
Carné, Marcel (1932). "Cinema and the World", trans. Claudia Gorbman, in
5647:
5209:
Thomson (1998), pp. 69, 103â5, 487â89; Wlaschin (1979), pp. 50â51, 56â57.
4903:
4092:
3752:. Vol. I, no. 170. Western Australia. August 8, 1929. p. 2
3465:
2866:
2752:
2598:
2523:
2490:
2416:
2345:
2244:
2119:
2112:
2079:
2066:
1873:
1853:
1818:
1537:
1456:
1228:
1206:
1133:
1012:
794:
772:
715:
Audio quality: phonograph discs, Vitaphone's in particular, had superior
549:
206:
182:
171:
146:
75:
4466:
4221:
2188:
1976:, one of the top screen comedians of the 1920s, declined precipitously.
1911:
9976:
9926:
9906:
9891:
9881:
9797:
9748:
9558:
9365:
9305:
9123:
9016:
8959:
8887:
8845:
8676:
8494:
8479:
8449:
8407:
8376:
8066:
7929:
7693:
7634:
7614:
7504:
6083:
Cosandey, Roland (1996). "François (or Franz) Dussaud (1870â1953)", in
3362:
3285:
2641:
2519:
2369:
2353:
2291:
2238:
1869:
1865:
1712:
1525:
1308:
1246:
1189:. In late May, the first all-color, all-talking feature, Warner Bros.'
724:
657:
653:
631:
613:
486:
464:
448:
412:
290:
213:
175:
151:
87:
4152:"How the Pictures Learned to Talk: The Emergence of German Sound Film"
3249:
2889:
Wierzbicki (2009), p. 74; "Representative Kinematograph Shows" (1907).
1696:
1693:
1690:
1687:
1684:
1283:
production using the sound-on-disc British Photophone system. In May,
1053:
9807:
9753:
9651:
9590:
9583:
9425:
9320:
9270:
8991:
8877:
8740:
8686:
8489:
8412:
8402:
8275:
8270:
7885:
7880:
7870:
7796:
7769:
7745:
7683:
7656:
7599:
7224:"Mathematical synchronization of image and sound in an animated film"
6986:. Berkeley, Los Angeles, and London: University of California Press.
6848:. Berkeley, Los Angeles, and London: University of California Press.
6438:. Berkeley, Los Angeles, and London: University of California Press.
2494:
2439:
2054:
2022:
1997:
1943:
1440:
1250:
971:
929:
790:
764:, the manufacturing division of AT&T, acquired the rights to the
748:
643:
541:
505:
473:
420:
314:
112:
8469:
7305:
chronology by sound-film pioneer E. I. Sponable; first published in
6506:
Cinema and Soviet Society from the Revolution to the Death of Stalin
4853:. INDOlink Tamil Cinema. Archived from the original on July 11, 2000
4715:
Ozu's first talking picture, which came out the following year, was
2833:
for articles concerning the development of cinematic sound recording
1964:
effectively came to an end in this way. The celebrated German actor
1906:
1834:
1037:
division, which was looking to market its new sound-on-film system,
236:
111:, which premiered on October 6, 1927. A major hit, it was made with
9693:
9355:
9250:
9036:
9026:
8974:
8664:
8123:
7875:
7552:
6436:
Berlin Alexanderplatz: Radio, Film, and the Death of Weimar Culture
5159:
3673:. History Department at the University of San Diego. Archived from
3604:. History Department at the University of San Diego. Archived from
3570:. History Department at the University of San Diego. Archived from
2341:
2285:
2262:
1878:
1725:
1670:
1626:
1602:
1585:
894:
620:, the first in Hollywood to hold the job, would supervise sound on
572:
520:
6077:
5957:
Grand Design: Hollywood as a Modern Business Enterprise, 1930â1939
3999:
Glancy (1995), pp. 4â5. Schatz (1998) says the production cost of
2610:
Many similar experiments were pursued by Dziga Vertov in his 1931
1395:
1319:
The first successful European dramatic talkie was the all-British
755:
209:, essentially a "peep-show" system, as a visual complement to his
74:
sound, or sound technologically coupled to image, as opposed to a
10016:
9698:
9641:
8659:
7024:
Sponable, E. I. (1947). "Historical Development of Sound Films",
6680:
Moone, Tom (2004). "Joseph Tykociner: Pioneer of Sound on Film",
6220:
The Speed of Sound: Hollywood and the Talkie Revolution 1926â1930
5646:, for instance, is the earliest sound film to appear in the 2001
2311:
1814:
598:
305:
Ruhmer began a correspondence with the French-born, London-based
7323:"Merger of the Sound Film IndustryâThe Founding Agenda of Tobis"
7273:
essay by producer and composer Guido Bagier; first published in
7096:(2000). Eighth ed., ed. John Pym. London and New York: Penguin.
6998:
The Genius of the System: Hollywood Filmmaking in the Studio Era
6021:
To the Distant Observer: Form and Meaning in the Japanese Cinema
5227:
Thomson (1998), pp. 281, 154â56; Wlaschin (1979), pp. 87, 65â66.
2582:
was among a number of contemporary artists struck by the film: "
2340:, the first Kannada talking picture to be released, was shot in
2089:(1936) employed sound almost exclusively for music and effects.
1566:
740:
9971:
9168:
9093:
8745:
8681:
8654:
8317:
8130:
7984:
6880:, ed. Justin Bowyer, pp. 33â40. London: Wallflower Press.
6246:
Freiberg, Freda (1987). "The Transition to Sound in Japan", in
6064:
Cinemas of the World: Film and Society from 1895 to the Present
5577:
See, e.g., Crafton (1997), pp. 448â49; Brownlow (1968), p. 577.
3214:"12 mentiras de la historia que nos tragamos sin rechistar (4)"
2327:
2303:
1643:
1554:), premiered as the Soviet Union's first true talking picture.
768:
129:
7470:
7198:
A Selected Bibliography of Sound and Music for Moving Pictures
6494:, ed. John Wakeman, pp. 1041â51. New York: H. W. Wilson.
5513:. UNESCO Institute for Statistics. May 5, 2009. Archived from
5474:
Rajadhyaksha and Willemen (2002), p. 254; Joshi (2003), p. 14.
1996:. After his acting career collapsed due to his Danish accent,
46:
9656:
8789:
8767:
8760:
8560:
6825:
History and Heartburn: The Saga of Australian Film, 1896â1978
6799:, rev. ed. Oxford and New York: BFI/Oxford University Press.
6403:. Cranbury, N.J., and London: Associated University Presses.
6130:. Bloomington/London: Indiana University Press/I. B. Tauris.
6103:
The Talkies: American Cinema's Transition to Sound, 1926â1931
4848:
3959:
3957:
3311:
The Talkies: American Cinema's Transition to Sound, 1926-1931
2675:
2601:
and scored by Lichtveld, who described its audiovisual aims:
2557:(1929), "one of the initial successes of a new art form", in
2280:
1804:
1227:
in London on September 27, 1928. According to film historian
1179:
became the last of the eight studios that would be known as "
819:
386:
7344:
Operating Instructions for Synchronous Reproducing Equipment
6936:, ed. John Wakeman, pp. 71â92. New York: H. W. Wilson.
6024:. Berkeley and Los Angeles: University of California Press.
5853:, expanded ed. Princeton, N.J.: Princeton University Press.
4945:"Classifying Performances: The Art of Korean Film Narrators"
4444:
See Nichols and Bazzoni (1995), p. 98, for a description of
3963:
Fleming, E.J., The Fixers, McFarland & Co., 2005, pg. 78
3314:. Berkeley, CA: University of California Press. p. 65.
8708:
7501:
6559:
Contemporary Korean Cinema: Identity, Culture, and Politics
4673:), also a talkie, were both produced and released in 1935.
4353:
Genre, Myth, and Convention in the French Cinema, 1929â1939
4273:
Jelavich (2006), pp. 215â16; Crafton (1997), p. 595, n. 59.
2930:
Robertson (2001) claims that German inventor and filmmaker
2549:
2473:
studio. The first American talkie to be widely honored was
1241:). Dialogueless, it contains only a few songs performed by
567:
the Photokinema sound system installed. On Sunday, May 29,
6695:. Bloomington and Indianapolis: Indiana University Press.
6008:
Berkeley and Los Angeles: University of California Press.
5793:
Milne (1980), p. 659. See also Crafton (1997), pp. 334â38.
4328:
3954:
3480:
3478:
2037:
were accustomed to the demands of both dialogue and song.
1881:
used for filming in studio interiors. The switch to quiet
1723:
directed the first Indian talking feature, the Hindi-Urdu
1665:
7056:
Stojanova, Christina (2006). "Post-Communist Cinema", in
6731:
Nichols, Nina Da Vinci, and Jana O'Keefe Bazzoni (1995).
5945:, pp. 298â308. New York: Columbia University Press.
5784:
See Spoto (1984), pp. 132â33; Truffaut (1984), pp. 63â65.
4355:(Bloomington: Indiana University Press), Crisp says that
3098:. Ministry for Foreign Affairs of Finland. Archived from
2193:
1034:
995:
360:
was awarded several patents that would lead to the first
6970:
The Cinema of Naruse Mikio: Women and Japanese Modernity
6670:, ed. Richard Roud, pp. 658â663. New York: Viking.
6587:
Sanctuary Cinema: Origins of the Christian Film Industry
6478:
Shell Shock Cinema: Weimar Culture and the Wounds of War
6387:
Sound Matters: Essays on the Acoustics of German Culture
6207:
Eisenstein, Sergei et al. (1928). "A Statement", in his
4132:
had its sound premiere in January 1929 (Crisp , p. 101).
3180:
The Invisible Art of Film Music: A Comprehensive History
3071:
3069:
2093:
became a top star with the synch-sound but dialogueless
1132:
produced with synchronized sound. Soon after he saw it,
6984:
Hollywood in Berlin: American Cinema and Weimar Germany
6827:. East Brunswick, N.J.: Associated University Presses.
6656:, 2d ed. Cambridge et al.: Cambridge University Press.
6642:. Oxford and New York: Routledge/Taylor & Francis.
6628:. Oxford and New York: Routledge/Taylor & Francis.
6573:
Vitaphone Films: A Catalogue of the Features and Shorts
5877:
Bazin, André (1967 ). "Cinema and Exploration", in his
4463:
program for XXI Mostra Internazionale del Cinema Libero
3475:
932:. After rereleasing a few silent feature hits, such as
340:
saw little benefit in producing sound motion pictures.
6720:
Narasimham, M. L. (2006). "A Leader and a Visionary",
5913:
Block, Alex Ben, and Lucy Autrey Wilson, eds. (2010).
3045:
Lindvall (2007), pp. 118â25; Carey (1999), pp. 322â23.
2697:
Sound and Cinema: The Coming of Sound to American Film
7183:
Progressive Silent Film List (PSFL)/Early Sound Films
7044:
The Dark Side of Genius: The Life of Alfred Hitchcock
6747:
The Cinema of Gosho Heinosuke: Laughter through Tears
6693:
Optical Poetry: The Life and Work of Oskar Fischinger
6341:
Guy, Randor (2004). "First Film to Talk in Kannada",
5025:. Association of Motion Picture Sound. Archived from
4264:
Wagenleitner (1994), p. 253; Robertson (2001), p. 10.
3921:. Association of Motion Picture Sound. Archived from
3724:. November 1929. Bryan Davis Publishing Co., inc.: 32
3664:
3595:
3561:
3066:
1416:), also shot at Elstree, followed a few weeks later.
838:
6735:. Lincoln and London: University of Nebraska Press.
3543:
Crafton (1997), pp. 76â87; Gomery (2005), pp. 38â40.
3424:
Crisp (1997), pp. 97â98; Crafton (1997), pp. 419â20.
3006:
The Auxetophone and Other Compressed-Air Gramophones
2891:
The Auxetophone and Other Compressed-Air Gramophones
2742:
6906:
From Peepshow to Palace: The Birth of American Film
6860:
A Hundred Years of Japanese Film: A Concise History
6119:, vol. 17, no. 4, October 1931, pp. 632â644. (
5506:
UIS International Survey on Feature Film Statistics
5236:
Thomson (1998), pp. 274â76; Wlaschin (1979), p. 84.
4942:
4809:
Quoted in Chatterji (1999), "The History of Sound."
2725:
The Shattered Silents: How the Talkies Came to Stay
2465:); premiering on April 1, 1930, it was directed by
7307:Journal of the Society of Motion Picture Engineers
7265:Theory of Film: The Redemption of Physical Reality
7026:Journal of the Society of Motion Picture Engineers
6920:Historical Dictionary of Russian and Soviet Cinema
6117:Journal of the Society of Motion Picture Engineers
5902:Bhuyan, Avantika (2006). "Going, Going, Gone...",
5284:. American Federation of Musicians. Archived from
5158:
2442:; the earliest Hollywood sound film to qualify is
2314:-based Madan Pictures had released both the Hindi
1468:; 1931), concerns the issue of homeless youth. As
7464:President Coolidge, Taken on the White House Lawn
6972:. Durham, North Carolina: Duke University Press.
6795:Rajadhyaksha, Ashish, and Paul Willemen (2002 ).
6085:Who's Who of Victorian Cinema: A Worldwide Survey
5931:, 2d ed. Burlington, Massachusetts: Focal Press.
5929:International Dictionary of Broadcasting and Film
4692:
4610:Nolletti (2005), p. 18; Richie (2005), pp. 48â49.
2469:in both German and English versions for Berlin's
1988:, and Hollywood's most famous performing couple,
970:, on a score and effects. When the movie's star,
747:engineer E. B. Craft, at left, demonstrating the
419:. All of them were presented under the banner of
10057:
6294:Historical Journal of Film, Radio and Television
5298:"1927 â With the release of the first 'talkie,'
4851:"Tamil Cinema HistoryâThe Early Days: 1916â1936"
4574:Rollberg (2008), pp. xxvii, 210â11, 450, 665â66.
4515:) (Crafton , p. 414). Sources differ on whether
2597:(1931), directed by Dutch avant-garde filmmaker
2522:, which premiered May 11, 1931. As described by
2364:In the first, 1930 edition of his global survey
7217:Sound StageâThe History of Motion Picture Sound
6707:Sound Recording: The Life Story of a Technology
6561:. Manchester, UK: Manchester University Press.
6490:Kemp, Philip (1987). "Josef Von Sternberg", in
6480:. Princeton, N.J.: Princeton University Press.
6448:Jewell, Richard B., with Vernon Harbin (1982).
6280:The Birth of the Talkies: From Edison to Jolson
6154:Dibbets, Karel (1999). "High-tech Avant-garde:
5888:. Lanham, Maryland: Scarecrow Press (excerpted
5849:Anderson, Joseph L., and Donald Richie (1982).
5245:
5138:Crafton (1997), p. 480; Wlaschin (1979), p. 26.
3334:
2965:"The Movies Are Born a Child of the Phonograph"
2650:sound. As described by scholar Donald Crafton,
2352:became the first Tamil talkie actually shot in
1593:It appears that the first Japanese sound film,
1007:half of the theaters had been wired for sound.
756:Fidelity electronic recording and amplification
431:. In 2010, a copy of the tape was found in the
411:among others) doing stage performances such as
216:. The two devices were brought together as the
6950:, July 20, 1901, vol. 85, no. 3, p. 36. (
6946:Ruhmer, Ernst (1901). "The Photographophone",
6813:. New Delhi: Promilla/Bibliophile South Asia.
6654:America on Record: A History of Recorded Sound
6193:Eckes, Alfred E. and Thomas W. Zeiler (2003).
6036:The Apocalypse and the Shape of Things to Come
5249:City of Nets: A Portrait of Hollywood in 1940s
5239:
4976:"What Is Korea's First Sound Film ("Talkie")?"
4523:; every other published source surveyed cites
2229:"), as well as the production of the cheaper "
1739:, and the first movie fully spoken in Telugu,
1524:had an experimental, dialogueless soundtrack;
327:effective dead end. In 1914, Finnish inventor
197:gave a lecture not far from the laboratory of
7486:
6784:Pradeep, K. (2006). "When the Stars Talked",
6709:. Baltimore: Johns Hopkins University Press.
6144:. Middlesex, England, and New York: Penguin.
5492:Rajadhyaksha and Willemen (2002), pp. 30, 32.
4773:
4583:Crisp (1997), p. 101; Crafton (1997), p. 155.
4390:
3833:Gomery (1985), p. 60; Crafton (1997), p. 131.
2852:List of early sound feature films (1926â1929)
1046:creation of Hollywood's newest major studio,
548:, allowing for synchronization. In 1921, the
6520:A Second Life: German Cinema's First Decades
4724:
4040:new life into their old films" (pp. 168â69).
3777:National Film and Sound Archive of Australia
3341:Encyclopedia of Arkansas History and Culture
3093:
2005:suggested, there were other issues as well:
1808:
1798:
423:. The set included the 11-minute short film
7248:"Asynchronism as a Principle of Sound Film"
7152:. New York and London: Salamander/Harmony.
7110:, rev. ed. New York: Simon & Schuster.
6617:, vol. 13, no. 3, winterâspring (available
5985:The First Hollywood Sound Shorts, 1926â1931
5824:Altman, Rick (1995). "The Sound of Sound",
5012:
5010:
4915:; 1935). The first Assamese-language film,
4491:was a remake of the previous year's silent
3773:"TOURING SOUND EQUIPMENT TO REGIONAL AREAS"
2684:Academy of Motion Picture Arts and Sciences
2302:Most of India's early talkies were shot in
1605:studio produced a pair of talkies in 1929:
39:Adventure game § Expansion (1990â2000)
7493:
7479:
7028:, vol. 48, nos. 4â5, April/May (available
6666:Milne, Tom (1980). "Rouben Mamoulian", in
6236:, 3d ed. London and New York: Wallflower.
5607:
5016:
4335:Chronologie du cinĂ©ma français (1930â1939)
3908:
3814:– via National Library of Australia.
3760:– via National Library of Australia.
3203:Gomery (2005), p. 30; Eyman (1997), p. 49.
3002:"What's Louder than Loud? The Auxetophone"
571:opened at the Shubert Crescent Theater in
381:American Institute of Electrical Engineers
7467:1924 Phonofilm sound film; on Archive.org
7447:1924 Phonofilm sound film; on Archive.org
6959:Wireless Telephony In Theory and Practice
6934:World Film Directors, Volume I: 1890â1945
6749:. Bloomington: Indiana University Press.
6545:RKO: The Biggest Little Major of Them All
6492:World Film Directors, Volume I: 1890â1945
6401:Lee De Forest and the Fatherhood of Radio
6282:. Bloomington: Indiana University Press.
6197:. Cambridge: Cambridge University Press.
4844:
4842:
4800:See Freiberg (2000), "The Film Industry."
4619:Burch (1979), pp. 145â46. Burch misdates
4301:
3665:Schoenherr, Steven E. (January 9, 2000).
3596:Schoenherr, Steven E. (October 6, 1999).
3406:Low (1997a), p. 203; Low (1997b), p. 183.
3245:"La primera pelĂcula sonora era española"
3176:
3027:Altman (2005), pp. 158â65; Altman (1995).
920:presented a sound film of the takeoff of
534:
351:
317:. As described by historian Scott Eyman,
101:", were exclusively shorts. The earliest
86:led to the first commercial screening of
7418:"What Radio Has Meant to Talking Movies"
6932:Rosen, Miriam (1987). "Luis Buñuel", in
6811:Hindi Film Song: Music Beyond Boundaries
6761:Lillian Gish: A Life on Stage and Screen
6547:. Santa Monica, California: Roundtable.
6038:. Toronto: University of Toronto Press.
5564:
5562:
5007:
4207:. Deutsches Filminstitut. Archived from
3562:Schoenherr, Steven E. (March 24, 2002).
3183:. Lanham, MD: Ardsley House. p. 5.
2727:. New York: William Morrow and Company.
2711:Sound Technology and the American Cinema
2548:
2379:
2243:
2187:
1936:
1905:
1833:
1664:
1565:
1455:
1296:
1052:
955:Then, on October 6, 1927, Warner Bros.'
893:
842:
739:
597:
577:
385:
235:
181:
150:
45:
27:A motion picture with synchronized sound
7411:1945 essay by film theorist and critic
7325:corporate manifesto first published in
7296:"Historical Development of Sound Films"
6908:. New York: Columbia University Press.
6599:Lloyd, Ann, and David Robinson (1986).
6589:. New York: New York University Press.
6371:. New York and Oxford: Berghahn Books.
6160:Joris Ivens and the Documentary Context
5839:, New York: Columbia University Press.
4644:
4642:
3667:"Sound Recording Research at Bell Labs"
3307:
2944:Altman (2005), p. 158; Cosandey (1996).
2713:. New York: Columbia University Press.
1223:had its European sound premiere at the
904:, on Vitaphone, and a Fox newsreel, on
14:
10058:
7241:
6315:Technology and CultureâThe Film Reader
6195:Globalization and the American Century
4839:
4457:Stojanova (2006), p. 97. According to
3715:
3591:
3589:
3023:
3021:
1813:) is based on the seventeenth-century
1291:British and Dominions Film Corporation
1136:released his first sound picture, the
1015:feature until the low-budget-oriented
343:
163:as a test of the early version of the
7474:
7250:1934 essay by filmmaker and theorist
6922:. Lanham, Maryland: Scarecrow Press.
6601:The Illustrated History of the Cinema
6142:Keaton: The Man Who Wouldn't Lie Down
6105:. New York: Charles Scribner's Sons.
5559:
4982:. Korean Film Archive. Archived from
4535:(1932) and Morocco's French-language
4287:. Epinay-sur-Seine.fr. Archived from
3770:
3278:
3220:(in European Spanish). Archived from
1968:returned to Europe. Moviegoers found
1215:
1025:on June 17, 1928, eight months after
674:Motion Picture Association of America
7138:. New York and Oxon, UK: Routledge.
6508:. London and New York: I.B. Tauris.
6331:. New York and Oxon, UK: Routledge.
6128:The Classic French Cinema, 1930â1960
5997:Brooks, Louise (1956). "Mr. Pabst",
5766:Quoted in Dibbets (1999), pp. 85â86.
5651:: 100 Best Films of the 20th Century
4639:
4237:candidates. See sources cited above.
3695:Gomery (2005), pp. 42, 50. See also
3337:"Freeman Harrison Owens (1890â1979)"
2910:The first talkie - "The Jazz Singer"
2699:. New York and Uxon, UK: Routledge.
2359:
2289:featured seven songs; a year later,
1914:of the audio signal at each instant.
1715:, excerpted from the silent feature
1264:was a coproduction between director
7428:
7367:review by film theorist and critic
7259:essay by film historian and critic
6452:. New York: Arlington House/Crown.
5851:The Japanese Film: Art and Industry
4665:), as well as his widely acclaimed
4507:(originally a silent), followed by
4329:Chiffaut-Moliard, Philippe (2005).
4189:See, e.g., Crisp (1997), pp. 103â4.
4077:Crafton (1997), pp. 169â71, 253â54.
3718:"The Portable Model RCA Photophone"
3586:
3242:
3018:
1561:
1325:. Directed by twenty-nine-year-old
962:live-recorded audio, relying, like
248:using the Gratioulet-Lioret system.
157:The Dickson Experimental Sound Film
24:
9833:List of American independent films
6222:. New York: Simon & Schuster.
5156:
4943:Maliangkay, Roald H (March 2005).
4932:Lai (2000), "The Cantonese Arena."
4723:). See Richie (1977), pp. 222â24;
4636:Anderson and Richie (1982), p. 77.
3444:Freeman Harrison Owens (1890â1979)
2689:
1856:", designed to suppress noise and
889:Producers Distributing Corporation
25:
10102:
10066:Audiovisual introductions in 1900
7164:
7080:A Biographical Dictionary of Film
6797:BFI Encyclopedia of Indian Cinema
6684:, vol. 9, no. 1, March (archived
5556:Quoted in Crafton (1997), p. 166.
4763:Quoted in Freiberg (1987), p. 76.
4682:. Midnight Eye. February 11, 2007
4226:Der Rote Kreis/The Crimson Circle
3335:Hall, Brenda J. (July 28, 2008).
2529:
2105:with the technologically similar
723:, this was outweighed by greater
10039:
10030:
10029:
6839:Kinematograph and Lantern Weekly
6536:, no. 11, November 1 (available
6464:Bollywood: Popular Indian Cinema
6356:âGermany's First Talking Film",
6268:, no. 11, November 1 (available
6209:Film Form: Essays in Film Theory
6176:. New York: Crown. 0-517-55348-1
5805:
5796:
5787:
5778:
5775:Quoted in Dibbets (1999), p. 85.
5769:
5760:
5751:
5712:
5703:
5694:
5685:
5676:
5667:
5637:
5628:
5601:
5592:
5580:
5571:
5550:
5547:Quoted in Chapman (2003), p. 93.
5541:
5532:
5495:
5486:
5477:
5468:
5459:
5450:
5441:
5432:
5429:Eckes and Zeiler (2003), p. 102.
5423:
5409:
5400:
5391:
5382:
5372:
5363:
5354:
5314:
5305:
5270:
5230:
5221:
5212:
5203:
5194:
5185:
5176:
5150:
5141:
5132:
5123:
5114:
5105:
5096:
5087:
5078:
5069:
5060:
5050:
5047:Bordwell (1985), pp. 300â1, 302.
5041:
4998:
4967:
4935:
4926:
4879:
4830:
4821:
4812:
4803:
4794:
4766:
4757:
4693:Jacoby, Alexander (April 2003).
4663:Three Sisters with Maiden Hearts
4657:Naruse's first talking picture,
4651:
4630:
4613:
4604:
4595:
4586:
3716:Danson, H. L. (September 1929).
3598:"Motion Picture Sound 1910â1929"
3279:LĂłpez, Alfred (April 15, 2016).
3128:E.M.C Tigerstedt "Suomen Edison"
2815:
2801:
2787:
2773:
2759:
2745:
2420:(1931)) and zero talkies in the
2159:American Federation of Musicians
375:, Polish-born research engineer
140:
7500:
7452:Gus Visser and His Singing Duck
7444:A Few Minutes with Eddie Cantor
7120:Wagenleitner, Reinhold (1994).
6878:The Cinema of Japan & Korea
6301:Film Sound: Theory and Practice
5828:, vol. 21, January 1 (archived
5737:gives 40 minutes. According to
5682:Quoted in Kenez (2001), p. 123.
5084:See Crafton (1997), pp. 142â45.
4774:Sharp, Jasper (March 7, 2002).
4680:"Mikio NaruseâA Modern Classic"
4577:
4568:
4559:
4542:
4531:, in Afrikaans. Egypt's Arabic
4480:
4451:
4438:
4429:
4420:
4411:
4391:Fisher, David (July 22, 2009).
4383:
4374:
4276:
4267:
4258:
4255:Quoted in Spoto (1984), p. 136.
4249:
4240:
4192:
4183:
4174:
4158:. filmportal.de. Archived from
4144:
4135:
4117:
4080:
4071:
4068:Block and Wilson (2010), p. 56.
4062:
4053:
4043:
4033:
4024:
4015:
4006:
3993:
3984:
3975:
3966:
3945:
3902:
3863:
3854:
3845:
3836:
3827:
3818:
3790:
3764:
3736:
3709:
3689:
3658:
3649:
3629:
3620:
3555:
3546:
3537:
3496:
3487:
3459:
3449:
3436:
3427:
3418:
3409:
3400:
3391:
3354:
3328:
3301:
3272:
3236:
3206:
3197:
3177:MacDonald, Laurence E. (1998).
3170:
3160:
3151:
3142:
3133:
3126:See also A. M. Pertti Kuusela,
3087:
3078:
3057:
3048:
3039:
3030:
2994:
2334:, the following year. In 1934,
1824:
1484:) in March and the all-talking
1017:Film Booking Offices of America
944:, by acclaimed German director
771:, the forerunner of the triode
459:, and vaudeville stars such as
7263:; first published in his book
7014:. Jefferson, N.C.: McFarland.
6874:Jayu Manse/Hurrah! for Freedom
6763:. Jefferson, N.C.: McFarland.
6575:. Jefferson, N.C.: McFarland.
6329:The Coming of Sound: A History
5987:. Jefferson, N.C.: McFarland.
5973:. Jefferson, N.C.: McFarland.
5538:Quoted in Agate (1972), p. 82.
5456:Quoted in Ganti (2004), p. 11.
5338:The text of the ad continues:
5165:, Academia.com, pp. 15â16
4495:. The first Brazilian talkie,
4337:. Cine-studies. Archived from
4246:Spoto (1984), pp. 131â32, 136.
4230:British International Pictures
3990:Hirschhorn (1979), pp. 59, 60.
3935:Allen, like many, exaggerates
3749:Geraldton Guardian and Express
3697:Motion Picture Sound 1910â1929
3502:The eight musical shorts were
3397:Quoted in Lasky (1989), p. 20.
2985:
2976:
2963:Sound engineer Mark Ulano, in
2957:
2947:
2938:
2924:
2915:
2903:
2883:
2831:Category:Film sound production
2590:was a direct influence on the
2476:All Quiet on the Western Front
2204:Academy Award for Best Picture
1809:
1799:
1346:G'schichten aus der Steiermark
1335:British International Pictures
13:
1:
10071:Exposition Universelle (1900)
6894:. New York: Billboard Books.
6668:Cinema: A Critical Dictionary
5501:Robertson (2001), pp. 16â17;
2553:Image of sumo wrestlers from
2192:Premiering February 1, 1929,
1829:
1584:; 1931), a production of the
1153:popularity of its sound films
941:Sunrise: A Song of Two Humans
7377:1929 essay by Rudolf Arnheim
7189:Recording Technology History
7106:Truffaut, François (1984 ).
6982:Saunders, Thomas J. (1994).
6183:. New York: Broadway Books.
6172:Eames, John Douglas (1985).
5867:. LiĂšge: Editions du CĂ©fal.
4331:"Le cinéma français en 1930"
3771:Smith, Nathan (April 2020).
3732:– via InternetArchive.
3671:Recording Technology History
3602:Recording Technology History
3568:Recording Technology History
2538:, one of the leaders of the
1581:The Neighbor's Wife and Mine
908:, together on the same bill.
523:, Hollywood's third largest
338:major Hollywood film studios
159:(1894 or 1895), produced by
7:
7436:Ben Bernie and All the Lads
7409:"Theory of the Film: Sound"
7353:article first published in
7335:article first published in
7288:September 21, 2009, at the
7282:Handbook for Projectionists
7000:. London: Faber and Faber.
6968:Russell, Catherine (2008).
6890:Robertson, Patrick (2001).
6462:Joshi, Lalit Mohan (2003).
5917:. New York: HarperCollins.
5328:. Duke University Libraries
5066:Crafton (1997), pp. 147â48.
4369:Genre, Myth, and Convention
3824:Crafton (1997), pp. 129â30.
3094:SipilÀ, Kari (April 2004).
3011:September 18, 2010, at the
2912:, Jolsonville, Oct. 9, 2013
2896:September 18, 2010, at the
2738:
2310:s March 1931 premiere, the
2231:International Sound Version
2183:
1947:, December 1929, featuring
1534:The Plan of the Great Works
1482:The Morality of Mrs. Dulska
1234:Ich kĂŒsse Ihre Hand, Madame
616:. Audio recording engineer
377:Joseph TykociĆski-Tykociner
356:In 1919, American inventor
279:The Photo-Drama of Creation
270:French Photographic Society
121:Cinema of the United States
10:
10107:
9724:Classical Hollywood cinema
8913:Commedia sexy all'italiana
7821:Exploitation film template
7765:Commedia sexy all'italiana
7301:December 22, 2009, at the
7134:Wierzbicki, James (2009).
7083:, 3d ed. New York: Knopf.
7058:Traditions in World Cinema
7035:December 22, 2009, at the
6872:Ris, Peter Harry (2004). "
6862:, 2d ed. Tokyo: Kodansha.
6809:Ranade, Ashok Da. (2006).
6652:Millard, Andre J. (2005).
6413:Hirschhorn, Clive (1979).
6066:. London: Reaktion Books.
5983:Bradley, Edwin M. (2005).
5969:Bradley, Edwin M. (1996).
5927:BognĂĄr, Desi KĂ©gl (2000).
5817:
5748:, it is "some 40 minutes".
5691:Eisenstein (1928), p. 259.
5102:"Outcome of Paris" (1930).
5075:See Bernds (1999), part 1.
5017:Allen, Bob (Autumn 1995).
4980:The Truth of Korean Movies
4725:Leahy, James (June 2004).
4659:Otome-gokoro sannin shimai
4471:Czech-Slovak Film Database
3909:Allen, Bob (Autumn 1997).
3484:Crafton (1997), pp. 71â72.
3130:(Insinööritieto Oy: 1981).
3096:"A Country That Innovates"
2857:List of film sound systems
2723:Walker, Alexander (1979).
1621:), the latter directed by
1301:The Prague-raised star of
1110:, which more than doubled
504:(1889â1957), patented the
144:
135:the nation's film industry
36:
29:
10081:Film and video technology
10025:
9628:
9546:
9291:German underground horror
9246:Documentary Film Movement
9154:American eccentric cinema
9139:
8385:
7511:
7209:January 25, 2011, at the
7204:The Silent Film Bookshelf
6745:Nolletti, Arthur (2005).
6724:, September 8 (available
6399:Hijiya, James A. (1992).
6345:, December 31 (available
5598:Kemp (1987), pp. 1045â46.
5019:"Let's Hear It For Sound"
4871:: CS1 maint: unfit URL (
4849:Anandan, "Kalaimaamani".
4501:The End of the Simpletons
4180:Gomery (1980), pp. 28â30.
4012:Robertson (2001), p. 180.
3899:, a quarter-million more.
3860:Eyman (1997), pp. 149â50.
3642:January 17, 2013, at the
3415:Robertson (2001), p. 168.
3148:Gomery (1985), pp. 55â56.
3036:Gomery (1985), pp. 54â55.
1771:The Idiot's Wedding Night
1460:The first Soviet talkie,
1249:, corporate heirs to the
887:'s small but prestigious
809:
682:, technically similar to
7457:Theodore Case sound film
7317:Bell Laboratories Record
7177:Hollywood Goes for Sound
7046:. New York: Ballantine.
6918:Rollberg, Peter (2008).
6904:Robinson, David (1997).
6759:Oderman, Stuart (2000).
6691:Moritz, William (2003).
6585:Lindvall, Terry (2007).
6434:Jelavich, Peter (2006).
6431:, vol. 3, no. 4, Winter.
6360:, January 25 (available
6352:Hall, Mordaunt (1930). "
6327:Gomery, Douglas (2005).
6257:August 21, 2006, at the
6232:Finler, Joel W. (2003).
6126:Crisp, Colin G. (1997).
6101:Crafton, Donald (1997).
6006:The Parade's Gone By ...
6004:Brownlow, Kevin (1968).
5863:Barnier, Martin (2002).
5744:January 9, 2010, at the
5700:Hamilton (2004), p. 140.
5634:Rosen (1987), pp. 74â76.
5369:"Talking Movies" (1926).
5246:Friedrich, Otto (1997).
4818:Reade (1981), pp. 79â80.
4592:Crisp (1997), pp. 101â2.
4313:. Movies & TV Dept.
4285:"Epinay ville du cinéma"
4059:Robertson (2001), p. 63.
3851:Lasky (1989), pp. 21â22.
3433:Sponable (1947), part 4.
3308:Crafton, Donald (1999).
3243:EFE (November 3, 2010).
3157:Sponable (1947), part 2.
3084:Eyman (1997), pp. 30â31.
3075:Crawford (1931), p. 638.
2877:
2368:, British cinema pundit
2227:Foreign Language Version
1932:
1757:, and all-Tamil talkie,
1239:I Kiss Your Hand, Madame
1186:The Lone Wolf's Daughter
926:They're Coming to Get Me
839:Triumph of the "talkies"
544:to a specially modified
433:U.S. Library of Congress
50:1908 poster advertising
9226:Cinema of Transgression
8360:Cinema of Transgression
7313:"Madam, Will You Talk?"
7077:Thomson, David (1998).
7042:Spoto, Donald (1984 ).
7010:Segrave, Kerry (1997).
6996:Schatz, Thomas (1998).
6858:Richie, Donald (2005).
6844:Richie, Donald (1977).
6638:Low, Rachael (1997b ).
6624:Low, Rachael (1997a ).
6062:Chapman, James (2003).
6034:Carey, Frances (1999).
5884:Bernds, Edward (1999).
5802:Crafton (1997), p. 377.
5725:March 11, 2007, at the
5662:Sight and Sound Top Ten
5656:March 31, 2014, at the
5616:. Turner Classic Movies
5397:Bradley (1996), p. 279.
5360:Oderman (2000), p. 188.
5322:"Canned Music on Trial"
5311:Hubbard (1985), p. 429.
5120:Thomson (1998), p. 732.
5111:Crafton (1997), p. 160.
5093:Crafton (1997), p. 435.
5004:Millard (2005), p. 189.
4973:Lee (2000), pp. 72â74;
4941:Ris (2004), pp. 35â36;
4648:Freiberg (1987), p. 76.
4517:MĂĄs fuerte que el deber
4389:Chapman (2003), p. 82;
4021:Crafton (1997), p. 390.
3981:Crafton (1997), p. 140.
3972:Crafton (1997), p. 148.
3552:Liebman (2003), p. 398.
3253:(in European Spanish).
2921:Robinson (1997), p. 23.
2872:The American Fotoplayer
2618:, a half-decade later.
1701:Singsong Girl Red Peony
1478:MoralnoĆÄ pani Dulskiej
1276:The Clue of the New Pin
1092:followed in April, and
686:, followed in October.
293:, the German physicist
9311:Hollywood on the Tiber
7381:"Sound Here and There"
7375:"Sound-Film Confusion"
7236:1913 add for Vivaphone
7229:June 12, 2016, at the
7148:Wlaschin, Ken (1979).
6957:Ruhmer, Ernst (1908).
6788:, March 17 (available
6705:Morton, David (2006).
6557:Lee, Hyangjin (2000).
6415:The Warner Bros. Story
6369:Polish National Cinema
6367:Haltof, Marek (2002).
6248:History on/and/in Film
5906:, March 31 (available
5729:gives 48 minutes; the
5406:Finler (2003), p. 376.
5351:
5342:Is Music Worth Saving?
4827:Ranade (2006), p. 106.
4667:Tsuma yo bara no yo ni
4497:Acabaram-se os otĂĄrios
4467:IMDb entry on the film
4357:Le Collier de la reine
4309:Le Collier de la reine
4282:Crisp (1997), p. 103;
4224:incorrectly refers to
3951:Geduld (1975), p. 166.
3722:Projection Engineering
3655:Crafton (1997), p. 70.
3637:"Rubber Line" Recorder
3384:April 5, 2016, at the
3139:BognĂĄr (2000), p. 197.
2991:Barnier (2002), p. 29.
2982:Crafton (1997), p. 37.
2973:
2709:Lastra, James (2000).
2695:Cameron, E.W. (1980).
2660:
2608:
2562:
2390:
2277:
2257:
2250:Acabaram-se os otĂĄrios
2207:
2178:
2012:
1956:
1926:
1915:
1850:Show Girl in Hollywood
1844:
1840:Show Girl in Hollywood
1705:The Devil's Playground
1679:The Mandarin-language
1676:
1659:
1611:The Captain's Daughter
1589:
1473:
1439:. The entirely German
1373:Le Collier de la reine
1316:
1095:The Lion and the Mouse
1073:
909:
860:
752:
627:
595:
556:'s failed silent film
535:Advanced sound-on-disc
437:Freeman Harrison Owens
391:
373:University of Illinois
352:Advanced sound-on-film
324:
249:
190:
179:
59:
10086:Film sound production
9301:Grupo Cine LiberaciĂłn
9241:Czechoslovak New Wave
9236:Commedia all'italiana
7583:Commedia all'italiana
7401:; first published in
7387:; first published in
7136:Film Music: A History
6823:Reade, Eric (1981 ).
6777:, July 22 (available
6571:Liebman, Roy (2003).
6543:Lasky, Betty (1989).
6504:Kenez, Peter (2001).
6218:Eyman, Scott (1997).
6179:Ebert, Roger (2002).
6140:Dardis, Tom (1980 ).
6001:, no. 5, September 7.
5835:Altman, Rick (2005).
5757:Moritz (2003), p. 25.
5709:Bazin (1967), p. 155.
5673:Ebert (2002), p. 277.
5447:Schatz (1998), p. 70.
5339:
4949:Image & Narrative
4675:Wife! Be Like a Rose!
4671:Wife! Be Like a Rose!
4601:Kenez (2001), p. 123.
4565:Morton (2006), p. 76.
4446:La Canzone dell'amore
4435:Haltof (2002), p. 24.
4426:Carné (1932), p. 105.
4380:Crisp (1997), p. 103.
4096:(United Artists) and
3842:Gomery (2005), p. 51.
3744:"LOCAL & GENERAL"
3702:May 13, 2008, at the
3528:Overture "TannhÀuser"
3508:An Evening on the Don
3289:(in European Spanish)
3063:Ruhmer (1908), p. 39.
3054:Ruhmer (1901), p. 36.
2968:
2652:
2603:
2552:
2383:
2268:
2247:
2191:
2172:Canned Music on Trial
2169:
2108:Our Dancing Daughters
2065:, the comedy team of
2007:
1951:. As movie historian
1940:
1921:
1909:
1837:
1668:
1654:
1569:
1497:La Canzone dell'amore
1492:Dangerous Love Affair
1459:
1446:It's You I Have Loved
1300:
1056:
897:
855:
781:condenser microphones
743:
601:
589:
441:Love's Old Sweet Song
389:
319:
246:1900 Paris Exposition
239:
187:Eric M. C. Tigerstedt
185:
154:
145:Further information:
88:short motion pictures
49:
9828:Guerrilla filmmaking
9491:Kitchen sink realism
9446:PraĆĄka filmska ĆĄkola
9376:New French Extremity
9286:German Expressionist
9194:Kitchen sink realism
9059:Contemporary Western
8839:Environmental issues
8370:New French Extremity
8328:New French Extremity
8153:Softcore pornography
8148:Hardcore pornography
8015:New French Extremity
7257:"Dialogue and Sound"
7193:Motion Picture Sound
6476:Kaes, Anton (2009).
6018:Burch, Noël (1979).
5568:Kaes (2009), p. 212.
5465:Ganti (2004), p. 11.
5438:Jewell (1982), p. 9.
5388:Lasky (1989), p. 51.
4554:The Earth Is Thirsty
4141:Low (1997a), p. 191.
4128:(p. 224). In Paris,
4112:The Poor Millionaire
4030:Eames (1985), p. 36.
3574:on September 5, 2006
2837:Dubbing (filmmaking)
2448:(1938), directed by
2438:(1934), directed by
1941:The unkind cover of
1512:Tonka of the Gallows
1487:Niebezpieczny romans
1451:Dich hab ich geliebt
1378:The Queen's Necklace
1364:Konstgjorda Svensson
1355:Das Land ohne Frauen
928:, starring comedian
867:(soon to be part of
865:Famous PlayersâLasky
656:contained a musical
421:De Forest Phonofilms
54:'s sound films. The
9564:Children and family
9538:Yugoslav Black Wave
9411:Nuevo Cine Mexicano
9296:Nigerian Golden Age
9261:European art cinema
9164:Australian New Wave
7242:Historical writings
7094:Time Out Film Guide
6948:Scientific American
6733:Pirandello and Film
6417:. New York: Crown.
6354:Because I Loved You
6234:The Hollywood Story
6174:The Paramount Story
5720:webpage on the film
5587:Time Out Film Guide
4986:on January 13, 2010
4705:on January 14, 2010
4521:El Caballero de Max
4459:Il Cinema Ritrovato
4393:"Chronomedia: 1929"
3925:on October 22, 1999
3520:The Kreutzer Sonata
3224:on February 7, 2019
3116:. Film Sound Sweden
2682:, secretary of the
2572:Melody of the World
2467:Josef von Sternberg
2210:In September 1926,
2199:The Broadway Melody
1900:Singin' in the Rain
1530:Plan velikikh rabot
1368:Artificial Svensson
1350:Stories from Styria
998:head of production
873:Metro-Goldwyn-Mayer
672:, president of the
467:, Eddie Cantor and
344:Crucial innovations
284:Jehovah's Witnesses
32:Talking Pictures TV
10091:Finnish inventions
9862:Major film studios
9456:Pure Film Movement
9436:Polish Film School
9336:Italian neorealist
9316:Hong Kong New Wave
8918:Mexican sex comedy
7975:German underground
7399:Alberto Cavalcanti
7397:essay by director
7383:essay by composer
7271:"The Film to Come"
7261:Siegfried Kracauer
7171:Film Sound History
6534:Screening the Past
6466:. London: Dakini.
6358:The New York Times
6266:Screening the Past
5660:poll and the 2002
5029:on January 8, 2000
4745:on October 3, 2009
4533:Onchoudet el Fouad
4513:The Eternal Prayer
4316:The New York Times
4162:on January 9, 2010
4001:Lights of New York
3896:Lights of New York
3470:The Speed of Sound
2842:Foley (filmmaking)
2614:and by Chaplin in
2563:
2391:
2350:Srinivasa Kalyanam
2258:
2208:
2031:Jeanette MacDonald
1957:
1916:
1861:treble "tweeter."
1845:
1677:
1590:
1474:
1431:La Route est belle
1409:La Route est belle
1360:Land Without Women
1317:
1261:The Crimson Circle
1225:Piccadilly Theatre
1216:Transition: Europe
1128:, among the first
1101:Lights of New York
1074:
910:
861:
753:
721:frequency response
628:
596:
392:
254:gramophone records
250:
195:Eadweard Muybridge
191:
180:
60:
10053:
10052:
9992:Socialist realist
9704:Behind-the-scenes
9481:Socialist realist
9476:Spaghetti Western
9466:Romanian New Wave
9341:Japanese New Wave
9007:Sword and sorcery
8923:Nazi exploitation
8505:Mumbai underworld
8261:Planetary romance
7277:, January 7, 1928
7252:Vsevolod Pudovkin
7066:978-0-8135-3873-0
6603:. London: Orbis.
5923:978-0-06-177889-6
5837:Silent Film Sound
5589:(2000), pp. xâxi.
5520:on March 31, 2019
5504:"Analysis of the
4778:A Page of Madness
4525:La Serpiente roja
4448:and its premiere.
4361:Les Trois masques
4351:In his 2002 book
4341:on March 16, 2009
3884:The King of Kings
3608:on April 29, 2007
3190:978-1-880157-56-5
3114:"Eric Tigerstedt"
2544:Sergei Eisenstein
2540:Russian formalist
2366:The Film Till Now
2360:Aesthetic quality
2322:. The Hindustani
2219:Wall Street crash
1990:Douglas Fairbanks
1887:panchromatic film
1866:frames per second
1427:Les Trois masques
1387:Les Trois masques
1192:On with the Show!
1177:Columbia Pictures
1130:animated cartoons
1022:The Perfect Crime
922:Charles Lindbergh
853:
640:Vitagraph Studios
626:, 44 years later.
587:
500:(1890â1979), and
240:Poster featuring
16:(Redirected from
10098:
10043:
10033:
10032:
10012:Vulgar auteurism
9840:Interstitial art
9818:Hyperlink cinema
9533:Vulgar auteurism
9528:Toronto New Wave
9518:Telefoni Bianchi
9513:Sword-and-sandal
9331:Italian futurist
9326:Iranian New Wave
9189:British New Wave
9002:Sword-and-sandal
8883:Rape and revenge
8824:Mouth of Garbage
8670:Tentacle erotica
8618:Goona-goona epic
8598:Extraterrestrial
8485:Heroic bloodshed
8119:Occult detective
7950:Christmas horror
7802:Sword-and-sandal
7534:Hong Kong action
7529:Heroic bloodshed
7495:
7488:
7481:
7472:
7471:
7429:Historical films
7395:"Sound in Films"
7391:, August 1, 1929
7363:The Singing Fool
7309:, April/May 1947
6963:available online
6952:available online
6383:Die Blechtrommel
6276:Geduld, Harry M.
6181:The Great Movies
6121:available online
5812:
5809:
5803:
5800:
5794:
5791:
5785:
5782:
5776:
5773:
5767:
5764:
5758:
5755:
5749:
5716:
5710:
5707:
5701:
5698:
5692:
5689:
5683:
5680:
5674:
5671:
5665:
5641:
5635:
5632:
5626:
5625:
5623:
5621:
5608:Arnold, Jeremy.
5605:
5599:
5596:
5590:
5584:
5578:
5575:
5569:
5566:
5557:
5554:
5548:
5545:
5539:
5536:
5530:
5529:
5527:
5525:
5519:
5512:
5499:
5493:
5490:
5484:
5481:
5475:
5472:
5466:
5463:
5457:
5454:
5448:
5445:
5439:
5436:
5430:
5427:
5421:
5413:
5407:
5404:
5398:
5395:
5389:
5386:
5380:
5376:
5370:
5367:
5361:
5358:
5352:
5337:
5335:
5333:
5318:
5312:
5309:
5303:
5297:
5295:
5293:
5274:
5268:
5267:
5243:
5237:
5234:
5228:
5225:
5219:
5216:
5210:
5207:
5201:
5198:
5192:
5189:
5183:
5180:
5174:
5173:
5172:
5170:
5164:
5161:Myths and Misses
5154:
5148:
5145:
5139:
5136:
5130:
5127:
5121:
5118:
5112:
5109:
5103:
5100:
5094:
5091:
5085:
5082:
5076:
5073:
5067:
5064:
5058:
5054:
5048:
5045:
5039:
5038:
5036:
5034:
5014:
5005:
5002:
4996:
4995:
4993:
4991:
4971:
4965:
4964:
4962:
4960:
4951:. Archived from
4939:
4933:
4930:
4924:
4883:
4877:
4876:
4870:
4862:
4860:
4858:
4846:
4837:
4834:
4828:
4825:
4819:
4816:
4810:
4807:
4801:
4798:
4792:
4791:
4789:
4787:
4770:
4764:
4761:
4755:
4754:
4752:
4750:
4741:. Archived from
4739:Senses of Cinema
4714:
4712:
4710:
4701:. Archived from
4699:Senses of Cinema
4691:
4689:
4687:
4655:
4649:
4646:
4637:
4634:
4628:
4617:
4611:
4608:
4602:
4599:
4593:
4590:
4584:
4581:
4575:
4572:
4566:
4563:
4557:
4546:
4540:
4539:(1934) followed.
4484:
4478:
4455:
4449:
4442:
4436:
4433:
4427:
4424:
4418:
4415:
4409:
4408:
4406:
4404:
4387:
4381:
4378:
4372:
4350:
4348:
4346:
4327:
4325:
4323:
4300:
4298:
4296:
4291:on June 12, 2010
4280:
4274:
4271:
4265:
4262:
4256:
4253:
4247:
4244:
4238:
4220:
4218:
4216:
4211:on June 24, 2011
4196:
4190:
4187:
4181:
4178:
4172:
4171:
4169:
4167:
4148:
4142:
4139:
4133:
4126:The Singing Fool
4121:
4115:
4084:
4078:
4075:
4069:
4066:
4060:
4057:
4051:
4047:
4041:
4037:
4031:
4028:
4022:
4019:
4013:
4010:
4004:
3997:
3991:
3988:
3982:
3979:
3973:
3970:
3964:
3961:
3952:
3949:
3943:
3941:
3934:
3932:
3930:
3906:
3900:
3867:
3861:
3858:
3852:
3849:
3843:
3840:
3834:
3831:
3825:
3822:
3816:
3815:
3813:
3811:
3798:"TALKIES AT SEA"
3794:
3788:
3787:
3785:
3783:
3768:
3762:
3761:
3759:
3757:
3740:
3734:
3733:
3731:
3729:
3713:
3707:
3693:
3687:
3686:
3684:
3682:
3662:
3656:
3653:
3647:
3633:
3627:
3624:
3618:
3617:
3615:
3613:
3593:
3584:
3583:
3581:
3579:
3559:
3553:
3550:
3544:
3541:
3535:
3500:
3494:
3491:
3485:
3482:
3473:
3463:
3457:
3453:
3447:
3440:
3434:
3431:
3425:
3422:
3416:
3413:
3407:
3404:
3398:
3395:
3389:
3358:
3352:
3351:
3349:
3347:
3332:
3326:
3325:
3305:
3299:
3298:
3296:
3294:
3276:
3270:
3269:
3267:
3265:
3240:
3234:
3233:
3231:
3229:
3210:
3204:
3201:
3195:
3194:
3174:
3168:
3164:
3158:
3155:
3149:
3146:
3140:
3137:
3131:
3125:
3123:
3121:
3111:
3109:
3107:
3091:
3085:
3082:
3076:
3073:
3064:
3061:
3055:
3052:
3046:
3043:
3037:
3034:
3028:
3025:
3016:
2998:
2992:
2989:
2983:
2980:
2974:
2961:
2955:
2951:
2945:
2942:
2936:
2928:
2922:
2919:
2913:
2907:
2901:
2887:
2825:
2820:
2819:
2818:
2811:
2806:
2805:
2804:
2797:
2792:
2791:
2790:
2783:
2778:
2777:
2776:
2769:
2764:
2763:
2762:
2755:
2750:
2749:
2748:
2668:Melodie der Welt
2633:Rouben Mamoulian
2588:Melodie der Welt
2584:Melodie der Welt
2568:Melodie der Welt
2555:Melodie der Welt
2536:Viktor Shklovsky
2445:Bringing Up Baby
2326:was produced in
2318:and the Bengali
2254:Iberian language
2164:Pittsburgh Press
2139:William Faulkner
1858:boom microphones
1812:
1811:
1802:
1801:
1767:Sha zai dongfang
1562:Transition: Asia
1548:The Road to Life
1502:The Song of Love
1466:The Road to Life
1414:The Road Is Fine
1327:Alfred Hitchcock
1266:Friedrich Zelnik
1173:The Jazz Singer'
1145:Steamboat Willie
1112:The Jazz Singer'
1107:The Singing Fool
1058:Dorothy Mackaill
1031:General Electric
1019:(FBO) premiered
885:Cecil B. DeMille
854:
762:Western Electric
745:Western Electric
588:
510:Der Brandstifter
445:J. Searle Dawley
425:From far Seville
300:photographophone
226:Paris Exposition
170:, combining the
95:talking pictures
21:
10106:
10105:
10101:
10100:
10099:
10097:
10096:
10095:
10076:History of film
10056:
10055:
10054:
10049:
10021:
9962:Semidocumentary
9887:Minimalist film
9877:Message picture
9872:Maximalist film
9766:Database cinema
9749:Computer screen
9709:Black-and-white
9634:
9632:
9630:
9624:
9542:
9498:Soviet parallel
9421:Parallel cinema
9416:Pan-Indian film
9346:Kammerspielfilm
9281:French New Wave
9201:Budapest school
9184:Brighton School
9159:New Objectivity
9141:
9135:
9104:Science fiction
8736:Bruceploitation
8645:Girls with guns
8591:Turksploitation
8465:Gentleman thief
8381:
8216:Science fiction
8062:Minimalist film
8057:Maximalist film
8035:Science fiction
7995:Japanese horror
7792:Social guidance
7507:
7499:
7431:
7405:, November 1939
7357:, July 22, 1930
7339:, July 23, 1930
7329:, July 20, 1928
7303:Wayback Machine
7290:Wayback Machine
7244:
7231:Wayback Machine
7211:Wayback Machine
7167:
7162:
7037:Wayback Machine
6259:Wayback Machine
5879:What Is Cinema?
5820:
5815:
5810:
5806:
5801:
5797:
5792:
5788:
5783:
5779:
5774:
5770:
5765:
5761:
5756:
5752:
5746:Wayback Machine
5727:Wayback Machine
5717:
5713:
5708:
5704:
5699:
5695:
5690:
5686:
5681:
5677:
5672:
5668:
5658:Wayback Machine
5642:
5638:
5633:
5629:
5619:
5617:
5606:
5602:
5597:
5593:
5585:
5581:
5576:
5572:
5567:
5560:
5555:
5551:
5546:
5542:
5537:
5533:
5523:
5521:
5517:
5510:
5502:
5500:
5496:
5491:
5487:
5482:
5478:
5473:
5469:
5464:
5460:
5455:
5451:
5446:
5442:
5437:
5433:
5428:
5424:
5414:
5410:
5405:
5401:
5396:
5392:
5387:
5383:
5377:
5373:
5368:
5364:
5359:
5355:
5344:
5331:
5329:
5320:
5319:
5315:
5310:
5306:
5300:The Jazz Singer
5291:
5289:
5288:on June 6, 2012
5276:
5275:
5271:
5264:
5244:
5240:
5235:
5231:
5226:
5222:
5217:
5213:
5208:
5204:
5199:
5195:
5190:
5186:
5181:
5177:
5168:
5166:
5155:
5151:
5146:
5142:
5137:
5133:
5128:
5124:
5119:
5115:
5110:
5106:
5101:
5097:
5092:
5088:
5083:
5079:
5074:
5070:
5065:
5061:
5055:
5051:
5046:
5042:
5032:
5030:
5023:AMPS Newsletter
5015:
5008:
5003:
4999:
4989:
4987:
4974:
4972:
4968:
4958:
4956:
4955:on May 28, 2008
4940:
4936:
4931:
4927:
4891:Sathi Sulochana
4884:
4880:
4864:
4863:
4856:
4854:
4847:
4840:
4835:
4831:
4826:
4822:
4817:
4813:
4808:
4804:
4799:
4795:
4785:
4783:
4771:
4767:
4762:
4758:
4748:
4746:
4708:
4706:
4685:
4683:
4678:
4656:
4652:
4647:
4640:
4635:
4631:
4621:Madamu to nyobo
4618:
4614:
4609:
4605:
4600:
4596:
4591:
4587:
4582:
4578:
4573:
4569:
4564:
4560:
4550:Zemlya zhazhdet
4547:
4543:
4505:East Side Sadie
4485:
4481:
4456:
4452:
4443:
4439:
4434:
4430:
4425:
4421:
4416:
4412:
4402:
4400:
4388:
4384:
4379:
4375:
4344:
4342:
4321:
4319:
4294:
4292:
4283:
4281:
4277:
4272:
4268:
4263:
4259:
4254:
4250:
4245:
4241:
4214:
4212:
4199:
4197:
4193:
4188:
4184:
4179:
4175:
4165:
4163:
4150:
4149:
4145:
4140:
4136:
4130:The Jazz Singer
4122:
4118:
4102:Robert Flaherty
4088:Charles Chaplin
4085:
4081:
4076:
4072:
4067:
4063:
4058:
4054:
4048:
4044:
4038:
4034:
4029:
4025:
4020:
4016:
4011:
4007:
3998:
3994:
3989:
3985:
3980:
3976:
3971:
3967:
3962:
3955:
3950:
3946:
3939:
3937:The Jazz Singer
3928:
3926:
3919:AMPS Newsletter
3913:The Jazz Singer
3907:
3903:
3879:The Jazz Singer
3875:The Jazz Singer
3868:
3864:
3859:
3855:
3850:
3846:
3841:
3837:
3832:
3828:
3823:
3819:
3809:
3807:
3796:
3795:
3791:
3781:
3779:
3769:
3765:
3755:
3753:
3742:
3741:
3737:
3727:
3725:
3714:
3710:
3704:Wayback Machine
3694:
3690:
3680:
3678:
3677:on May 22, 2007
3663:
3659:
3654:
3650:
3644:Wayback Machine
3634:
3630:
3625:
3621:
3611:
3609:
3594:
3587:
3577:
3575:
3564:"Dynamic Range"
3560:
3556:
3551:
3547:
3542:
3538:
3532:Vesti La Giubba
3501:
3497:
3492:
3488:
3483:
3476:
3472:(1997), page 43
3464:
3460:
3454:
3450:
3441:
3437:
3432:
3428:
3423:
3419:
3414:
3410:
3405:
3401:
3396:
3392:
3386:Wayback Machine
3359:
3355:
3345:
3343:
3333:
3329:
3322:
3306:
3302:
3292:
3290:
3277:
3273:
3263:
3261:
3241:
3237:
3227:
3225:
3212:
3211:
3207:
3202:
3198:
3191:
3175:
3171:
3165:
3161:
3156:
3152:
3147:
3143:
3138:
3134:
3119:
3117:
3112:
3105:
3103:
3102:on July 7, 2011
3092:
3088:
3083:
3079:
3074:
3067:
3062:
3058:
3053:
3049:
3044:
3040:
3035:
3031:
3026:
3019:
3013:Wayback Machine
2999:
2995:
2990:
2986:
2981:
2977:
2962:
2958:
2952:
2948:
2943:
2939:
2929:
2925:
2920:
2916:
2908:
2904:
2898:Wayback Machine
2888:
2884:
2880:
2847:History of film
2821:
2816:
2814:
2807:
2802:
2800:
2793:
2788:
2786:
2779:
2774:
2772:
2765:
2760:
2758:
2751:
2746:
2744:
2741:
2692:
2690:Further reading
2592:industrial film
2576:Walter Ruttmann
2574:), directed by
2532:
2481:Lewis Milestone
2458:Der Blaue Engel
2362:
2186:
2174:
2143:Robert Sherwood
2075:Charlie Chaplin
1935:
1832:
1827:
1746:Ayodhyecha Raja
1741:Bhakta Prahlada
1729:, and produced
1681:GÄnÇ hĂłng mÇdÄn
1623:Kenji Mizoguchi
1576:Madamu to nyobo
1572:Heinosuke Gosho
1564:
1552:A Start in Life
1543:Putevka v zhizn
1528:'s documentary
1462:Putevka v zhizn
1392:The Three Masks
1380:), shot at the
1221:The Jazz Singer
1218:
1158:Beggars of Life
1078:The Jazz Singer
1027:The Jazz Singer
1000:Irving Thalberg
992:The Jazz Singer
988:Louella Parsons
984:The Jazz Singer
976:The Jazz Singer
958:The Jazz Singer
901:The Jazz Singer
857:The Jazz Singer
843:
841:
814:In 1929 a "new
812:
758:
679:The Better 'Ole
578:
537:
502:Joseph Massolle
455:, opera singer
453:Calvin Coolidge
354:
346:
329:Eric Tigerstedt
242:Sarah Bernhardt
149:
143:
108:The Jazz Singer
56:Chronomégaphone
42:
35:
28:
23:
22:
15:
12:
11:
5:
10104:
10094:
10093:
10088:
10083:
10078:
10073:
10068:
10051:
10050:
10048:
10047:
10037:
10026:
10023:
10022:
10020:
10019:
10014:
10009:
10004:
9999:
9994:
9989:
9984:
9979:
9974:
9969:
9964:
9959:
9954:
9949:
9947:Reverse motion
9944:
9939:
9934:
9929:
9924:
9919:
9914:
9909:
9904:
9899:
9897:Modernist film
9894:
9889:
9884:
9879:
9874:
9869:
9864:
9859:
9854:
9853:
9852:
9842:
9837:
9836:
9835:
9830:
9820:
9815:
9810:
9805:
9800:
9795:
9790:
9789:
9788:
9778:
9773:
9768:
9763:
9762:
9761:
9759:midnight movie
9751:
9746:
9741:
9736:
9731:
9726:
9721:
9716:
9711:
9706:
9701:
9696:
9691:
9686:
9685:
9684:
9679:
9674:
9669:
9664:
9659:
9649:
9644:
9638:
9636:
9626:
9625:
9623:
9622:
9621:
9620:
9615:
9605:
9604:
9603:
9598:
9588:
9587:
9586:
9581:
9573:
9572:
9571:
9561:
9556:
9550:
9548:
9547:By demographic
9544:
9543:
9541:
9540:
9535:
9530:
9525:
9520:
9515:
9510:
9505:
9500:
9495:
9494:
9493:
9486:Social realist
9483:
9478:
9473:
9468:
9463:
9458:
9453:
9448:
9443:
9441:Poliziotteschi
9438:
9433:
9431:Poetic realist
9428:
9423:
9418:
9413:
9408:
9403:
9398:
9393:
9388:
9386:New generation
9383:
9378:
9373:
9368:
9363:
9361:Modernist film
9358:
9353:
9351:L.A. Rebellion
9348:
9343:
9338:
9333:
9328:
9323:
9318:
9313:
9308:
9303:
9298:
9293:
9288:
9283:
9278:
9273:
9268:
9263:
9258:
9253:
9248:
9243:
9238:
9233:
9228:
9223:
9218:
9216:Cinéma du look
9213:
9208:
9203:
9198:
9197:
9196:
9186:
9181:
9176:
9171:
9166:
9161:
9156:
9151:
9145:
9143:
9137:
9136:
9134:
9133:
9132:
9131:
9129:Zapata Western
9126:
9121:
9116:
9111:
9109:Singing cowboy
9106:
9101:
9096:
9091:
9086:
9081:
9076:
9071:
9066:
9064:Dacoit Western
9061:
9056:
9046:
9045:
9044:
9039:
9034:
9024:
9019:
9014:
9009:
9004:
8999:
8994:
8989:
8984:
8983:
8982:
8972:
8967:
8962:
8957:
8952:
8947:
8945:Shoshimin-eiga
8942:
8941:
8940:
8935:
8933:Nunsploitation
8930:
8928:Pornochanchada
8925:
8920:
8915:
8910:
8900:
8895:
8890:
8885:
8880:
8875:
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8662:
8652:
8647:
8642:
8641:
8640:
8635:
8630:
8620:
8615:
8610:
8605:
8603:Food and drink
8600:
8595:
8594:
8593:
8588:
8583:
8581:Blaxploitation
8573:
8568:
8563:
8558:
8553:
8552:
8551:
8546:
8536:
8535:
8534:
8524:
8519:
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8512:
8510:Poliziotteschi
8507:
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8395:
8389:
8387:
8383:
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8380:
8379:
8374:
8373:
8372:
8367:
8365:Extreme cinema
8362:
8352:
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8345:
8340:
8335:
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8320:
8315:
8310:
8305:
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7997:
7992:
7987:
7982:
7977:
7972:
7967:
7962:
7957:
7952:
7947:
7945:Chinese horror
7942:
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7448:
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7415:
7406:
7392:
7378:
7372:
7369:Rudolf Arnheim
7358:
7348:
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7330:
7320:
7310:
7293:
7278:
7268:
7254:
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7240:
7239:
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7233:
7220:
7214:
7201:
7195:
7186:
7180:
7174:
7166:
7165:External links
7163:
7161:
7160:
7146:
7132:
7118:
7104:
7091:
7075:
7068:
7054:
7040:
7022:
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6888:
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6842:
6841:, September 5.
6835:
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6569:
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6502:
6488:
6474:
6460:
6446:
6432:
6429:American Music
6425:
6411:
6397:
6379:
6365:
6350:
6339:
6325:
6311:
6297:
6290:
6273:
6262:
6244:
6230:
6216:
6205:
6191:
6177:
6170:
6156:Philips Radio,
6152:
6138:
6124:
6113:
6099:
6081:
6074:
6060:
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6032:
6016:
6002:
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5684:
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5666:
5636:
5627:
5612:Westfront 1918
5600:
5591:
5579:
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5558:
5549:
5540:
5531:
5494:
5485:
5476:
5467:
5458:
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5440:
5431:
5422:
5418:New York Times
5408:
5399:
5390:
5381:
5371:
5362:
5353:
5313:
5304:
5269:
5262:
5238:
5229:
5220:
5211:
5202:
5193:
5184:
5182:Brooks (1956).
5175:
5157:Baxter, Mike,
5149:
5140:
5131:
5122:
5113:
5104:
5095:
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5077:
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5049:
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4802:
4793:
4782:. Midnight Eye
4765:
4756:
4695:"Mikio Naruse"
4650:
4638:
4629:
4612:
4603:
4594:
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4576:
4567:
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4428:
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4382:
4373:
4275:
4266:
4257:
4248:
4239:
4203:Der Rote Kreis
4191:
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4173:
4143:
4134:
4116:
4079:
4070:
4061:
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3983:
3974:
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3835:
3826:
3817:
3803:The Daily News
3789:
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3657:
3648:
3628:
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3399:
3390:
3374:New York Times
3353:
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3320:
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3205:
3196:
3189:
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2798:
2784:
2770:
2756:
2740:
2737:
2736:
2735:
2721:
2707:
2691:
2688:
2645:, directed by
2531:
2530:Cinematic form
2528:
2518:, directed by
2504:, directed by
2489:, directed by
2486:Westfront 1918
2479:, directed by
2463:The Blue Angel
2386:Westfront 1918
2361:
2358:
2337:Sati Sulochana
2212:Jack L. Warner
2185:
2182:
2151:Dorothy Parker
2135:Nathanael West
2095:Seventh Heaven
2059:William Powell
2047:John Barrymore
1986:Gloria Swanson
1962:Norma Talmadge
1949:Norma Talmadge
1934:
1931:
1894:David Bordwell
1831:
1828:
1826:
1823:
1763:Dukhtar-e-loor
1755:Narsimha Mehta
1721:Ardeshir Irani
1649:Akira Kurosawa
1607:Taii no musume
1563:
1560:
1518:'s nonfiction
1507:Tonka Ć ibenice
1404:Elstree studio
1270:Der Rote Kreis
1243:Richard Tauber
1217:
1214:
1089:Glorious Betsy
1070:First National
1004:United Artists
990:' reaction to
935:Seventh Heaven
881:First National
840:
837:
816:RCA Photophone
811:
808:
757:
754:
732:
731:
713:
705:
704:
701:
698:
695:
554:D. W. Griffith
546:film projector
536:
533:
457:Abbie Mitchell
447:and featuring
443:, directed by
353:
350:
345:
342:
262:Emile Berliner
161:W.K.L. Dickson
142:
139:
103:feature-length
68:motion picture
26:
9:
6:
4:
3:
2:
10103:
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9955:
9953:
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9948:
9945:
9943:
9942:Postmodernist
9940:
9938:
9935:
9933:
9932:Participatory
9930:
9928:
9925:
9923:
9920:
9918:
9915:
9913:
9910:
9908:
9905:
9903:
9902:Musical short
9900:
9898:
9895:
9893:
9890:
9888:
9885:
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9873:
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9838:
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9826:
9825:
9824:
9821:
9819:
9816:
9814:
9813:Found footage
9811:
9809:
9806:
9804:
9801:
9799:
9796:
9794:
9791:
9787:
9784:
9783:
9782:
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9755:
9752:
9750:
9747:
9745:
9742:
9740:
9737:
9735:
9732:
9730:
9727:
9725:
9722:
9720:
9719:Cinéma vérité
9717:
9715:
9712:
9710:
9707:
9705:
9702:
9700:
9697:
9695:
9692:
9690:
9687:
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9678:
9675:
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9670:
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9665:
9663:
9660:
9658:
9655:
9654:
9653:
9650:
9648:
9645:
9643:
9640:
9639:
9637:
9635:or production
9627:
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9609:
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9479:
9477:
9474:
9472:
9469:
9467:
9464:
9462:
9459:
9457:
9454:
9452:
9451:Prussian film
9449:
9447:
9444:
9442:
9439:
9437:
9434:
9432:
9429:
9427:
9424:
9422:
9419:
9417:
9414:
9412:
9409:
9407:
9404:
9402:
9399:
9397:
9396:New Nollywood
9394:
9392:
9391:New Hollywood
9389:
9387:
9384:
9382:
9379:
9377:
9374:
9372:
9369:
9367:
9364:
9362:
9359:
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9309:
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9299:
9297:
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9284:
9282:
9279:
9277:
9274:
9272:
9269:
9267:
9264:
9262:
9259:
9257:
9254:
9252:
9249:
9247:
9244:
9242:
9239:
9237:
9234:
9232:
9229:
9227:
9224:
9222:
9219:
9217:
9214:
9212:
9211:Cannibal boom
9209:
9207:
9206:Calligrafismo
9204:
9202:
9199:
9195:
9192:
9191:
9190:
9187:
9185:
9182:
9180:
9177:
9175:
9174:Berlin School
9172:
9170:
9167:
9165:
9162:
9160:
9157:
9155:
9152:
9150:
9147:
9146:
9144:
9138:
9130:
9127:
9125:
9124:Weird Western
9122:
9120:
9117:
9115:
9112:
9110:
9107:
9105:
9102:
9100:
9097:
9095:
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9018:
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8995:
8993:
8990:
8988:
8985:
8981:
8978:
8977:
8976:
8973:
8971:
8968:
8966:
8963:
8961:
8958:
8956:
8955:Slice of life
8953:
8951:
8948:
8946:
8943:
8939:
8936:
8934:
8931:
8929:
8926:
8924:
8921:
8919:
8916:
8914:
8911:
8909:
8908:Bavarian porn
8906:
8905:
8904:
8903:Sexploitation
8901:
8899:
8896:
8894:
8891:
8889:
8886:
8884:
8881:
8879:
8876:
8872:
8869:
8868:
8867:
8864:
8862:
8861:Partisan film
8859:
8857:
8854:
8852:
8849:
8847:
8844:
8840:
8837:
8836:
8835:
8832:
8830:
8829:Muslim social
8827:
8825:
8822:
8820:
8817:
8811:
8810:Zombie comedy
8808:
8807:
8806:
8803:
8801:
8798:
8796:
8793:
8791:
8788:
8786:
8785:Giant monster
8783:
8782:
8781:
8778:
8774:
8771:
8770:
8769:
8766:
8762:
8759:
8757:
8754:
8752:
8749:
8747:
8744:
8742:
8739:
8737:
8734:
8733:
8732:
8729:
8727:
8724:
8722:
8719:
8715:
8712:
8710:
8707:
8706:
8705:
8702:
8700:
8697:
8693:
8690:
8689:
8688:
8685:
8683:
8680:
8678:
8675:
8671:
8668:
8666:
8663:
8661:
8658:
8657:
8656:
8653:
8651:
8648:
8646:
8643:
8639:
8636:
8634:
8631:
8629:
8626:
8625:
8624:
8621:
8619:
8616:
8614:
8611:
8609:
8606:
8604:
8601:
8599:
8596:
8592:
8589:
8587:
8586:Mexploitation
8584:
8582:
8579:
8578:
8577:
8574:
8572:
8569:
8567:
8564:
8562:
8559:
8557:
8554:
8550:
8547:
8545:
8542:
8541:
8540:
8537:
8533:
8530:
8529:
8528:
8525:
8523:
8520:
8516:
8513:
8511:
8508:
8506:
8503:
8501:
8498:
8496:
8493:
8491:
8488:
8486:
8483:
8481:
8478:
8476:
8473:
8471:
8468:
8466:
8463:
8461:
8458:
8456:
8453:
8452:
8451:
8448:
8446:
8443:
8441:
8440:Coming-of-age
8438:
8436:
8433:
8431:
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8025:Psychological
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8000:Korean horror
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7970:Found footage
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6450:The RKO Story
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5904:Screen Weekly
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5739:filmportal.de
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5731:35 Millimeter
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5649:Village Voice
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4399:. Terra Media
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2407:
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2405:Pandora's Box
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2375:Max Reinhardt
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2316:Shirin Farhad
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2273:studio system
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2255:
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2147:Aldous Huxley
2144:
2140:
2136:
2131:
2130:
2125:
2124:Boris Karloff
2121:
2118:
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2110:
2109:
2104:
2103:Joan Crawford
2100:
2096:
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2063:Norma Shearer
2060:
2056:
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2051:Ronald Colman
2048:
2044:
2043:Joan Blondell
2040:
2036:
2035:Marx Brothers
2032:
2028:
2024:
2019:
2016:
2015:Buster Keaton
2011:
2006:
2004:
2003:Louise Brooks
1999:
1995:
1994:Mary Pickford
1991:
1987:
1983:
1982:Colleen Moore
1979:
1975:
1971:
1967:
1966:Emil Jannings
1963:
1954:
1953:David Thomson
1950:
1946:
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1939:
1930:
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1397:
1394:) debuted; a
1393:
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936:
931:
927:
923:
919:
918:Fox Movietone
915:
907:
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836:
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746:
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717:dynamic range
714:
712:sound-on-film
710:
709:
708:
702:
699:
696:
692:
691:
690:
687:
685:
681:
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675:
671:
667:
663:
662:sound effects
659:
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645:
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637:
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625:
624:
619:
618:George Groves
615:
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555:
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496:(1893â1942),
495:
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484:
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476:
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470:
466:
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458:
454:
450:
446:
442:
438:
434:
430:
429:Concha Piquer
426:
422:
418:
414:
410:
409:George Jessel
406:
405:Sophie Tucker
402:
401:Harry Richman
398:
388:
384:
382:
378:
374:
369:
367:
366:Theodore Case
363:
362:optical sound
359:
358:Lee De Forest
349:
341:
339:
336:heads of the
334:
330:
323:
318:
316:
312:
311:sound-on-film
308:
307:Eugene Lauste
303:
301:
296:
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258:sound-on-disc
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208:
204:
203:zoopraxiscope
200:
199:Thomas Edison
196:
188:
184:
177:
173:
169:
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162:
158:
153:
148:
141:Early history
138:
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132:
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110:
109:
104:
100:
96:
91:
89:
85:
84:sound-on-film
81:
80:sound-on-disc
77:
73:
69:
65:
57:
53:
48:
44:
40:
33:
19:
9996:
9781:Experimental
9776:Ethnofiction
9523:Third Cinema
9426:Persian Film
9169:Auteur films
9140:By movement
8997:Swashbuckler
8856:Ozploitation
8851:Outlaw biker
8731:Martial arts
8726:Magical girl
8576:Exploitation
8571:Ethnographic
8500:Mafia comedy
8143:Pornographic
8020:Psycho-biddy
8005:Lovecraftian
7839:Contemporary
7820:
7814:Exploitation
7809:Experimental
7689:Mockumentary
7558:Biographical
7463:
7459:; on YouTube
7451:
7443:
7435:
7424:, April 1931
7421:
7402:
7388:
7362:
7354:
7343:
7336:
7326:
7316:
7306:
7281:
7274:
7264:
7222:J. DomaĆski
7149:
7135:
7121:
7107:
7093:
7078:
7057:
7043:
7025:
7011:
6997:
6983:
6969:
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6919:
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6891:
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6873:
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6732:
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6706:
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6681:
6667:
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6463:
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6414:
6400:
6386:
6382:
6368:
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6300:
6293:
6279:
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6233:
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6141:
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6084:
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5984:
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5705:
5696:
5687:
5678:
5669:
5661:
5648:
5643:
5639:
5630:
5620:December 13,
5618:. Retrieved
5611:
5603:
5594:
5586:
5582:
5573:
5552:
5543:
5534:
5524:December 13,
5522:. Retrieved
5515:the original
5505:
5497:
5488:
5479:
5470:
5461:
5452:
5443:
5434:
5425:
5417:
5411:
5402:
5393:
5384:
5374:
5365:
5356:
5347:
5341:
5340:
5330:. Retrieved
5325:
5316:
5307:
5299:
5290:. Retrieved
5286:the original
5281:
5272:
5248:
5241:
5232:
5223:
5214:
5205:
5196:
5187:
5178:
5167:, retrieved
5160:
5152:
5143:
5134:
5125:
5116:
5107:
5098:
5089:
5080:
5071:
5062:
5052:
5043:
5033:December 13,
5031:. Retrieved
5027:the original
5022:
5000:
4988:. Retrieved
4984:the original
4979:
4969:
4957:. Retrieved
4953:the original
4948:
4937:
4928:
4920:
4916:
4912:
4909:Pind di Kuri
4908:
4902:
4899:Dhruva Kumar
4898:
4894:
4890:
4886:
4881:
4855:. Retrieved
4832:
4823:
4814:
4805:
4796:
4784:. Retrieved
4777:
4768:
4759:
4749:December 12,
4747:. Retrieved
4743:the original
4738:
4732:
4729:The Only Son
4728:
4721:The Only Son
4720:
4716:
4709:December 12,
4707:. Retrieved
4703:the original
4698:
4686:December 12,
4684:. Retrieved
4674:
4670:
4666:
4662:
4658:
4653:
4632:
4625:Mikio Naruse
4620:
4615:
4606:
4597:
4588:
4579:
4570:
4561:
4553:
4549:
4544:
4536:
4532:
4528:
4524:
4520:
4516:
4512:
4508:
4504:
4500:
4496:
4492:
4489:North of '49
4488:
4482:
4453:
4445:
4440:
4431:
4422:
4417:Hall (1930).
4413:
4401:. Retrieved
4396:
4385:
4376:
4368:
4365:Cine-studies
4364:
4360:
4356:
4352:
4343:. Retrieved
4339:the original
4334:
4320:. Retrieved
4314:
4308:
4293:. Retrieved
4289:the original
4278:
4269:
4260:
4251:
4242:
4233:
4225:
4213:. Retrieved
4209:the original
4202:
4194:
4185:
4176:
4164:. Retrieved
4160:the original
4155:
4146:
4137:
4129:
4125:
4119:
4111:
4105:
4098:F. W. Murnau
4091:
4082:
4073:
4064:
4055:
4050:constituent.
4045:
4035:
4026:
4017:
4008:
4000:
3995:
3986:
3977:
3968:
3947:
3936:
3929:December 12,
3927:. Retrieved
3923:the original
3918:
3912:
3904:
3894:
3888:
3882:
3878:
3874:
3870:
3865:
3856:
3847:
3838:
3829:
3820:
3808:. Retrieved
3801:
3792:
3780:. Retrieved
3776:
3766:
3754:. Retrieved
3747:
3738:
3726:. Retrieved
3721:
3711:
3691:
3679:. Retrieved
3675:the original
3670:
3660:
3651:
3631:
3622:
3612:December 11,
3610:. Retrieved
3606:the original
3601:
3578:December 11,
3576:. Retrieved
3572:the original
3567:
3557:
3548:
3539:
3531:
3527:
3524:Mischa Elman
3523:
3519:
3516:His Pastimes
3515:
3511:
3507:
3503:
3498:
3489:
3469:
3461:
3451:
3438:
3429:
3420:
3411:
3402:
3393:
3377:
3373:
3366:
3356:
3344:. Retrieved
3340:
3330:
3310:
3303:
3291:. Retrieved
3284:
3274:
3262:. Retrieved
3248:
3238:
3226:. Retrieved
3222:the original
3217:
3208:
3199:
3179:
3172:
3162:
3153:
3144:
3135:
3127:
3118:. Retrieved
3104:. Retrieved
3100:the original
3089:
3080:
3059:
3050:
3041:
3032:
2996:
2987:
2978:
2969:
2959:
2949:
2940:
2926:
2917:
2905:
2885:
2862:Musical film
2823:1960s portal
2809:1950s portal
2795:1940s portal
2781:1930s portal
2767:1920s portal
2724:
2710:
2696:
2671:
2667:
2664:naturalistic
2661:
2654:
2653:
2640:
2638:
2626:
2622:
2620:
2616:Modern Times
2615:
2611:
2609:
2604:
2594:
2587:
2583:
2571:
2567:
2564:
2554:
2533:
2513:
2510:Jean Chiappe
2499:
2484:
2474:
2462:
2456:
2454:
2450:Howard Hawks
2443:
2433:
2429:
2425:
2421:
2415:
2409:
2403:
2395:
2392:
2384:
2365:
2363:
2349:
2335:
2323:
2320:Jamai Sasthi
2319:
2315:
2307:
2301:
2296:
2290:
2284:
2278:
2269:
2259:
2249:
2217:Even as the
2216:
2209:
2197:
2179:
2171:
2170:
2162:
2155:
2129:Frankenstein
2127:
2106:
2098:
2094:
2091:Janet Gaynor
2086:Modern Times
2084:
2078:
2071:Oliver Hardy
2039:James Cagney
2027:Eddie Cantor
2020:
2013:
2008:
1978:Lillian Gish
1974:Harold Lloyd
1970:John Gilbert
1958:
1942:
1927:
1922:
1917:
1898:
1891:
1883:incandescent
1870:undercranked
1863:
1849:
1846:
1838:
1825:Consequences
1790:
1786:
1782:
1778:
1774:
1770:
1766:
1762:
1758:
1754:
1751:Sant Tukaram
1750:
1744:
1740:
1737:Jamai Sasthi
1736:
1730:
1724:
1716:
1708:
1704:
1700:
1680:
1678:
1669:
1660:
1655:
1642:
1640:
1636:YasujirĆ Ozu
1632:Mikio Naruse
1625:. The rival
1618:
1614:
1610:
1606:
1598:
1594:
1591:
1579:
1575:
1556:
1551:
1547:
1541:
1533:
1529:
1519:
1516:Dziga Vertov
1511:
1505:
1501:
1495:
1491:
1485:
1481:
1477:
1475:
1470:Marcel Carné
1465:
1461:
1450:
1444:
1434:
1430:
1426:
1420:
1418:
1413:
1407:
1399:
1391:
1385:
1377:
1371:
1367:
1363:
1359:
1353:
1349:
1345:
1343:
1338:
1330:
1320:
1318:
1302:
1286:Black Waters
1284:
1281:British Lion
1274:
1269:
1259:
1256:
1238:
1232:
1220:
1219:
1200:
1197:
1190:
1184:
1172:
1169:Dream Street
1168:
1164:Interference
1162:
1156:
1150:
1143:
1138:Mickey Mouse
1123:
1111:
1105:
1099:
1093:
1087:
1081:
1080:: In March,
1077:
1075:
1065:
1062:Milton Sills
1048:RKO Pictures
1026:
1020:
1013:part-talking
1009:
991:
983:
981:
975:
967:
963:
956:
954:
949:
946:F. W. Murnau
939:
933:
925:
914:Roxy Theater
911:
899:
862:
856:
830:
824:
813:
804:
799:
795:loudspeakers
785:
777:
759:
736:
733:
706:
688:
683:
677:
670:Will H. Hays
665:
647:
636:Warner Bros.
629:
621:
607:
604:Warner Bros.
590:
569:Dream Street
568:
564:Dream Street
563:
559:Dream Street
557:
538:
518:
514:The Arsonist
513:
509:
491:
482:
472:
469:Oscar Levant
440:
424:
416:
397:Eddie Cantor
393:
370:
355:
347:
333:Denes Mihaly
325:
320:
304:
295:Ernst Ruhmer
288:
282:, promoting
277:
274:
266:LĂ©on Gaumont
251:
231:
222:
192:
128:
117:
106:
98:
94:
92:
72:synchronized
63:
61:
43:
10007:Video nasty
10002:Underground
9987:Slow cinema
9957:Sceneggiata
9845:Live action
9823:Independent
9803:Film Ă clef
9771:Docufiction
9739:Compilation
9714:Blockbuster
9682:Traditional
9677:Stop-motion
9613:Chick flick
9471:Slow cinema
9461:Remodernist
9276:Free Cinema
9256:Erra Cinema
9221:Cinema Novo
9099:Revisionist
8608:Gendai-geki
8544:Psychedelic
8532:Apocalyptic
8398:Beach party
8293:Slow cinema
8266:Space opera
8231:Fantastique
8102:Sceneggiata
8092:Musicarello
7965:Fantastique
7844:Fantastique
7787:Educational
7714:Video essay
7669:Documentary
7413:BĂ©la BalĂĄzs
7385:Paul Dessau
7355:Film-Kurier
7337:Film-Kurier
7327:Film-Kurier
7275:Film-Kurier
6775:Film-Kurier
5483:Guy (2004).
5332:December 9,
5292:December 9,
5282:Our History
5278:"1920â1929"
4990:December 9,
4959:December 9,
4921:Sita Bibaha
4904:Heer Ranjha
4857:December 8,
4786:December 7,
4493:His Destiny
4403:December 8,
4397:Chronomedia
4345:December 8,
4322:December 8,
4295:December 8,
4215:December 8,
4166:December 7,
4093:City Lights
3681:December 7,
3466:Scott Eyman
3346:December 7,
3293:February 6,
3264:February 6,
3228:February 6,
3120:December 8,
3106:December 8,
2867:Sound stage
2753:Film portal
2680:Frank Woods
2599:Joris Ivens
2559:André Bazin
2524:Roger Ebert
2506:Luis Buñuel
2491:G. W. Pabst
2426:City Lights
2417:City Lights
2346:Maharashtra
2324:Heer Ranjha
2248:Poster for
2120:Clark Gable
2113:Greta Garbo
2083:(1931) and
2080:City Lights
2067:Stan Laurel
1874:overcranked
1819:Chunhyangga
1807::
1797::
1743:. In 1932,
1538:Nikolai Ekk
1443:production
1229:Rachael Low
1207:Hoot Gibson
1202:Points West
1134:Walt Disney
1125:Dinner Time
773:vacuum tube
602:Poster for
550:Photokinema
479:James Quirk
417:Bella Donna
413:vaudevilles
264:. In 1902,
218:Kinetophone
207:Kinetoscope
172:Kinetoscope
168:Kinetophone
155:Image from
147:Kinetoscope
76:silent film
10060:Categories
9927:Paracinema
9912:Neorealist
9907:Mythopoeia
9892:Mockbuster
9857:Low-budget
9798:Featurette
9631:technique,
9629:By format,
9508:Surrealist
9503:Structural
9381:New German
9371:Neorealist
9366:Mumblecore
9306:Heimatfilm
9266:Film d'art
9231:Cinéma pur
8965:South Seas
8938:Sex report
8204:Paranormal
8167:Propaganda
8067:Mumblecore
7854:Historical
7736:Historical
7625:Remarriage
7615:Mo lei tau
7422:Radio News
7371:, ca. 1929
6892:Film Facts
5733:website's
4772:Quoted in
3376:review of
3363:Fritz Lang
3286:20 minutos
2719:0231115164
2705:091317856X
2672:Le Million
2655:Le Million
2647:René Clair
2642:Le Million
2520:Fritz Lang
2501:L'Ăge d'Or
2435:L'Atalante
2370:Paul Rotha
2354:Tamil Nadu
2292:Indrasabha
2239:subtitling
2223:depression
2033:, and the
1879:arc lights
1830:Technology
1817:folktale "
1779:Conscience
1775:Liang xing
1526:Abram Room
1521:Enthusiasm
1309:Anny Ondra
1120:Paul Terry
1083:Tenderloin
1066:The Barker
1039:Photophone
948:. As with
725:distortion
660:and added
654:soundtrack
632:Sam Warner
614:soundtrack
494:Josef Engl
487:castor oil
465:Ben Bernie
461:Phil Baker
449:Una Merkel
291:photophone
256:âknown as
214:phonograph
176:phonograph
64:sound film
9917:No-budget
9882:Meta-film
9850:animation
9808:Film-poem
9744:Composite
9689:Anthology
9652:Animation
9647:Actuality
9633:approach,
9401:New Queer
9321:Indiewood
9271:Film gris
9142:or period
9119:Spaghetti
9042:Submarine
9022:Vigilante
8987:Superhero
8741:Chopsocky
8687:Jidaigeki
8556:Dystopian
8455:Detective
8413:Buddy cop
8403:Body swap
8333:Political
8313:Financial
8276:Tokusatsu
8271:Steampunk
8187:Bromantic
8159:Malayalam
8138:Crossover
8114:Detective
8082:Backstage
8030:Religious
7886:Tech noir
7881:Pulp noir
7871:Film noir
7746:Melodrama
7684:Docudrama
7657:Cyberpunk
7650:Slapstick
7640:Screwball
7600:Gross out
7563:Christian
7541:Adventure
7108:Hitchcock
6786:The Hindu
6722:The Hindu
6682:Ingenuity
6343:The Hindu
5326:Ad*Access
4529:Mocdetjie
4475:Joinville
3810:August 6,
3782:August 6,
3756:August 6,
3728:August 6,
3635:The Bell
3512:La Fiesta
3504:Caro Nome
3378:Siegfried
3368:Siegfried
3259:1134-6582
2623:Blackmail
2612:Entuziazm
2495:Nero-Film
2440:Jean Vigo
2308:Alam Ara'
2266:effects:
2101:, as did
2055:Myrna Loy
2023:Al Jolson
1998:Karl Dane
1944:Photoplay
1912:amplitude
1713:Sulochana
1570:Director
1441:Aafa-Film
1402:, at the
1400:Blackmail
1339:Blackmail
1331:Blackmail
1322:Blackmail
1304:Blackmail
1251:Tri-Ergon
1175:s debut,
1116:Sonny Boy
972:Al Jolson
930:Chic Sale
906:Movietone
877:Universal
869:Paramount
826:Show Boat
791:Bell Labs
766:de Forest
760:In 1913,
749:Vitaphone
644:Vitaphone
630:In 1925,
623:Woodstock
542:interlock
529:Movietone
506:Tri-Ergon
498:Hans Vogt
474:Photoplay
427:starring
315:celluloid
113:Vitaphone
18:Sound era
10035:Category
9922:One-shot
9786:Abstract
9672:Computer
9356:Lettrist
9251:Dogme 95
9179:Bourekas
9149:Absolute
9089:Northern
9084:Meat pie
9037:Euro War
9032:Anti-war
8898:Rumberas
8819:Mountain
8721:Luchador
8677:Homeland
8665:Shotacon
8638:Suburban
8566:Economic
8527:Disaster
8460:Gangster
8435:Colonial
8425:Cannibal
8386:By theme
8343:Romantic
8298:Thriller
8256:New Wave
8251:Military
8209:Thriller
8177:Romantic
8124:Whodunit
8097:Operetta
8077:Arthouse
8045:Splatter
7940:Cannibal
7930:Arthouse
7913:Suburban
7903:Southern
7876:Neo-noir
7780:Thriller
7674:Animated
7662:Japanese
7630:Romantic
7620:Thriller
7546:Survival
7524:Arthouse
7512:By style
7389:Der Film
7299:Archived
7286:Archived
7227:Archived
7207:Archived
7033:Archived
6296:, March.
6278:(1975).
6255:Archived
5826:Cineaste
5742:Archived
5723:Archived
5654:Archived
5169:June 12,
4893:(Guy );
4887:Alam Ara
4867:cite web
4509:Ad Mosay
4222:IMDb.com
3871:Don Juan
3700:Archived
3640:Archived
3382:Archived
3009:Archived
2894:Archived
2739:See also
2631:(1929),
2628:Applause
2422:Time Out
2414:(1930),
2408:(1929),
2397:Time Out
2342:Kolhapur
2312:Calcutta
2297:Alam Ara
2286:Alam Ara
2263:shakeout
2184:Commerce
2111:(1928).
2077:, whose
1726:Alam Ara
1671:Alam Ara
1627:Shochiku
1619:Hometown
1615:Furusato
1603:Nikkatsu
1586:Shochiku
1436:Atlantic
1422:Atlantik
1307:(1929),
1289:, which
1043:exposure
968:Don Juan
950:Don Juan
832:Broadway
800:Don Juan
786:Don Juan
684:Don Juan
666:Don Juan
649:Don Juan
609:Don Juan
592:Don Juan
573:Brooklyn
521:Fox Film
211:cylinder
10017:Z movie
9793:Feature
9729:Collage
9699:B movie
9667:Cartoon
9406:No wave
9074:Florida
9069:Fantasy
9049:Western
8992:Surfing
8980:Eurospy
8950:Slavery
8800:Vampire
8780:Monster
8751:Kung fu
8692:Samurai
8660:Lolicon
8628:Romance
8475:Gong'an
8445:Concert
8430:Chicano
8393:Animals
8281:Western
8236:Fantasy
8194:Fantasy
8172:Reality
8109:Mystery
8087:Jukebox
8072:Musical
8050:Satanic
8040:Slasher
8010:Natural
7990:Holiday
7898:Romance
7864:Science
7829:Fantasy
7731:Dramedy
7595:Dramedy
5818:Sources
4917:Joymati
4780:(1927)"
4311:(1929)"
3250:El PaĂs
2430:Sunrise
2428:, like
2424:poll. (
2235:dubbing
2099:Sunrise
1815:pansori
1787:byun-sa
1732:Kalidas
1717:Madhuri
1709:Fellers
1313:dubbing
1210:Western
1011:even a
964:Sunrise
694:picture
477:editor
371:At the
99:talkies
97:", or "
52:Gaumont
10045:Portal
9982:Silent
9972:Shinpa
9967:Serial
9952:Satire
9937:Poetry
9867:Masala
9596:ShĆnen
9579:Seinen
9094:Ostern
9079:Horror
9012:Travel
8970:Sports
8893:Rubble
8866:Prison
8834:Nature
8805:Zombie
8746:Gun fu
8682:Isekai
8655:Hentai
8623:Gothic
8549:Stoner
8515:Yakuza
8470:GokudĆ
8418:Female
8348:Techno
8318:Giallo
8308:Erotic
8303:Comedy
8246:Horror
8241:Gothic
8226:Comedy
8199:Gothic
8182:Comedy
8131:Giallo
7985:Giallo
7955:Comedy
7925:Horror
7893:Gothic
7834:Comedy
7760:Erotic
7751:Korean
7709:Travel
7699:Pseudo
7645:Silent
7610:Parody
7605:Horror
7573:Action
7568:Comedy
7519:Action
7505:genres
7267:(1960)
7156:
7142:
7128:
7114:
7100:
7087:
7072:online
7064:
7050:
7030:online
7018:
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6866:
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6699:
6686:online
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6632:
6619:online
6615:Gazeta
6607:
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4461:, the
3318:
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2703:
2411:Zemlya
2332:Punjab
2328:Lahore
2304:Bombay
2149:, and
2073:, and
1854:blimps
1803:;
1795:Korean
1783:pyonsa
1773:) and
1759:Kalava
1644:benshi
1613:) and
1595:Reimai
1540:drama
1382:Ăpinay
1181:majors
883:, and
859:(1927)
810:Travel
769:audion
525:studio
407:, and
165:Edison
130:benshi
9997:Sound
9977:Short
9734:Color
9657:Anime
9618:Josei
9608:Women
9601:ShĆjo
9569:Anime
9559:Black
9554:Adult
9114:Space
9017:Trial
8960:Snuff
8871:Women
8846:Opera
8795:Mummy
8790:Kaiju
8773:Anime
8768:Mecha
8761:Wuxia
8756:Ninja
8704:LGBTQ
8699:KaitĆ
8650:Harem
8633:Space
8613:Ghost
8561:Ecchi
8522:Dance
8495:Mafia
8480:Heist
8450:Crime
8408:Buddy
8377:Trick
8323:Legal
7980:Ghost
7918:Urban
7908:Space
7741:Legal
7721:Drama
7694:Mondo
7578:Black
7455:1925
7403:Films
6158:" in
5999:Image
5735:entry
5518:(PDF)
5511:(PDF)
4911:(aka
4897:(aka
4234:Kitty
4228:as a
3940:'
3911:"Why
3890:Wings
2878:Notes
2676:genre
2281:India
2117:extra
1933:Labor
1805:Hanja
1675:film.
1396:Pathé
1247:Tobis
1141:short
820:Hoyts
729:noise
658:score
125:Japan
70:with
66:is a
9754:Cult
9591:Teen
9584:Stag
9575:Men
9054:Acid
8888:Road
8878:Race
8714:Yuri
8709:Yaoi
8539:Drug
8490:Hood
7935:Body
7849:High
7819:see
7797:Epic
7770:Pink
7704:Semi
7588:Sexy
7502:Film
7154:ISBN
7140:ISBN
7126:ISBN
7112:ISBN
7098:ISBN
7085:ISBN
7062:ISBN
7048:ISBN
7016:ISBN
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6988:ISBN
6974:ISBN
6938:ISBN
6924:ISBN
6910:ISBN
6896:ISBN
6882:ISBN
6864:ISBN
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6829:ISBN
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6801:ISBN
6765:ISBN
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6630:ISBN
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6524:ISBN
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6482:ISBN
6468:ISBN
6454:ISBN
6440:ISBN
6419:ISBN
6405:ISBN
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6319:ISBN
6305:ISBN
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6238:ISBN
6224:ISBN
6199:ISBN
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6132:ISBN
6107:ISBN
6093:ISBN
6068:ISBN
6054:ISBN
6040:ISBN
6026:ISBN
6010:ISBN
5989:ISBN
5975:ISBN
5961:ISBN
5947:ISBN
5933:ISBN
5919:ISBN
5894:ISBN
5869:ISBN
5855:ISBN
5841:ISBN
5622:2009
5526:2009
5334:2009
5294:2009
5258:ISBN
5171:2021
5035:2009
4992:2009
4961:2009
4873:link
4859:2009
4788:2009
4751:2009
4711:2009
4688:2009
4537:Itto
4405:2009
4363:and
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4324:2009
4297:2009
4217:2009
4168:2009
4107:Tabu
4100:and
3931:2009
3887:and
3812:2021
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3758:2021
3730:2021
3683:2009
3614:2009
3580:2009
3530:and
3456:58).
3442:See
3348:2009
3316:ISBN
3295:2020
3266:2019
3255:ISSN
3230:2019
3185:ISBN
3122:2009
3108:2009
2729:ISBN
2715:ISBN
2701:ISBN
2670:and
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2097:and
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9027:War
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6846:Ozu
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