Journal articles on the topic 'Early sound film'
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1
Lewis, Hannah. "The singing film star in early French sound cinema." Soundtrack 12, no. 1 (November 1, 2020): 21–37. http://dx.doi.org/10.1386/ts_00010_1.
Abstract:
In the early years of synchronized sound film, cinema’s relationship to live theatre was a topic of debate. Many stars from the Parisian stage successfully transitioned to the screen, becoming important figures in establishing a French national sound film style at a time when the medium’s future remained uncertain. Not only did French audiences take pleasure in hearing French stars speak on-screen, but the French singing voice also had an equally influential, if less examined, effect. Songs performed on-screen by stars from the French stage bridged theatrical traditions and sound cinema’s emerging audio-visual aesthetics. This article examines the singing star in early French sound cinema. Drawing on scholarly approaches to stardom in France and abroad by Richard Dyer and Ginette Vincendeau, I focus on musical numbers in early French sound films that feature three singers already famous on the Parisian stage: Fernandel, Henri Garat and Josephine Baker. I consider how these songs are visually structured around the singing star’s stage presence, and how the soundtrack was likewise constructed around their voices familiar to audiences from recordings and stage performances. Through my analysis, I show how the singing star contributed to a broader acceptance of sound cinema in France.
2
Spadoni, Robert. "The Uncanny Body of Early Sound Film." Velvet Light Trap 51, no. 1 (2003): 4–16. http://dx.doi.org/10.1353/vlt.2003.0011.
3
Robinson, Kelly. "An Adaptable Aesthetic: Theodor Sparkuhl's Contribution to Late Silent and Early Sound Film-making at British International Pictures, 1929–30." Journal of British Cinema and Television 17, no. 2 (April 2020): 172–90. http://dx.doi.org/10.3366/jbctv.2020.0518.
Abstract:
The German cinematographer Theodor Sparkuhl worked at Elstree from 1929 to 1930. Accounts of this period in Britain have often emphasised the detrimental effects of the arrival of the sound film in 1928, how it sounded the death knell of film as an international medium and how the film industry struggled to adapt (economically, technically, aesthetically). However, this article shows that the international dimension of the film industry did not disappear with the coming of sound and British International Pictures (BIP) was an exception to what Robert Murphy has called the ‘catalogue of failure’ during this turbulent period in British film history. Sparkuhl indisputably contributed to this achievement, working as he did on eight feature films in just two years from around July 1928 to April 1930, as well as directing several BIP shorts. Sparkuhl's career embodies the international nature of the film industry in the 1920s and 1930s. In Germany he moved within very different production contexts, from newsreels to Ufa and the Großfilme; in Britain from big-budget films aimed at the international market to low-scale inexpensive films at BIP. As what Thomas Elsaesser has called an ‘international adventurer’, Sparkuhl cannot be contained within any single national cinema history. The ease with which he slipped in and out of different production contexts demonstrates not just his ability to adapt but also the fluidity between the different national industries during this period. In this transitional phase in Britain, Sparkuhl worked on silent, part sound and wholly sound films, on films aimed at both the international and the indigenous market, and in genres such as the musical, the war film and comedy. The example of Sparkuhl shows that German cameramen were employed not only for their aesthetic prowess but also for their efficiency and adaptability.
4
Tieber, Claus, and Anna K. Windisch. "Musical moments and numbers in Austrian silent cinema." Soundtrack 12, no. 1 (November 1, 2020): 7–20. http://dx.doi.org/10.1386/ts_00009_1.
Abstract:
Although the film musical as a genre came into its own with the sound film technologies of the late 1920s and early 1930s, several characteristic features did not originate solely with the sound film. The ‘musical number’ as the epitome of the genre, can already be found in different forms and shapes in silent films. This article looks at two Austrian silent films, Sonnige Träume (1921) and Seine Hoheit, der Eintänzer (1926), as case studies for how music is represented without a fixed sound source, highlighting the differences and similarities of musical numbers in silent and sound films. The chosen films are analysed in the contexts of their historical exhibition and accompaniment practices, Austria’s film industry as well as the country’s cultural-political situation after the end of the monarchy. These two examples demonstrate that several characteristics of the film musical are based on the creative endeavours made by filmmakers during the silent era, who struggled, failed and succeeded in ‘visualizing’ music and musical performances in the so-called ‘silent’ films. In reconstructing their problems and analysing their solutions, we are able to gain a deeper understanding of the nature of musical numbers during the silent era and on a more general level.
5
Marez, Curtis. "Subaltern Soundtracks." Aztlán: A Journal of Chicano Studies 29, no. 1 (2004): 57–82. http://dx.doi.org/10.1525/azt.2004.29.1.57.
Abstract:
This essay suggests that the postrevolutionary Mexican presence in Los Angeles profoundly influenced the emergence and consolidation of film and other media there. In the 1930s, Anglo Americans and Mexicans were in conflict and competition over how to use new forms of audio mass media such as radio and sound films. Mexican movie programmers and audiences in Los Angeles appropriated early sound films in ways that addressed immigrant concerns and contradicted emergent Hollywood norms of exhibition and spectatorship. Mainstream responses to such practices suggest that dominant uses of sound in film exercised an ideological police power that was ultimately aimed at symbolically containing Mexican dissent.
6
MacDonald, Shana. "Voicing Dissonance." Feminist Media Histories 1, no. 4 (2015): 89–107. http://dx.doi.org/10.1525/fmh.2015.1.4.89.
Abstract:
This article examines how sound was used as an effective tool of formal resistance in the work of influential feminist filmmakers, Carolee Schneemann (United States), Gunvor Nelson (Sweden), and Joyce Wieland (Canada). While their work differs in both aesthetic approach and thematics, their strategic use of sound as a point of disruption within their early films set an important standard for future feminist experimental film practice. The article outlines how each filmmaker constructed a dialectical relationship between image and sound that often challenged viewers. Each produced defamiliarized landscapes out of domestic spaces commonly overcoded by gendered systems of representation, including the kitchen, the home, and the garden. Furthermore, each film offered alternative forms for articulating women's subjectivity that challenged the roles made available to them during the 1960s. Through close readings of Wieland's film Water Sark (1965), Schneemann's film Plumb Line (1968–71), and Nelson's film My Name Is Oona (1969), the article demonstrates how each artist advanced a critical politics through sound-image dissonance.
7
Vidojković, Dario. "Early Representations of Wartime Violence in Films, 1914–1930." Cultural History 6, no. 1 (April 2017): 37–56. http://dx.doi.org/10.3366/cult.2017.0134.
Abstract:
This article deals with the cinematic representations of warfare violence and with its aestheticization in early films. It argues, in particular, that the patterns and narrative structures of (anti-)war movies were laid out during the First World War. Among the first films establishing those patterns and rules were D.W. Griffith's The Birth of a Nation, a film on the American Civil War, and Hearts of the World, showing the war on the western front, produced in 1918. Films such as these offered the main elements that would mark, henceforth, how anti-war movies would portray violence. With the up-coming of sound, moviegoers would be able not only to see, but also to hear what a war sounded like. Lewis Milestone's All Quiet on the Western Front (1930), one of the first sound films, exposed the audiences to a series of (calculated) audio/visual distortions, including explosions, screams, and the monotone sound of machinegun fire.
8
Tieber, Claus, and Christina Wintersteller. "Writing with Music: Self-Reflexivity in the Screenplays of Walter Reisch." Arts 9, no. 1 (January 28, 2020): 13. http://dx.doi.org/10.3390/arts9010013.
Abstract:
Self-reflexivity is a significant characteristic of Austro-German cinema during the early sound film period, particular in films that revolve around musical topics. Many examples of self-reflexive cinematic instances are connected to music in one way or another. The various ways in which music is integrated in films can produce instances of intertextuality, inter- and transmediality, and self-referentiality. However, instead of relying solely on the analysis of the films in order to interrogate the conception of such scenes, this article examines several screenplays. They include musical instructions and motivations for diegetic musical performances. However, not only music itself, but also music as a subject matter can be found in these screenplays, as part of the dialogue or instructions for the mis-en-scène. The work of Austrian screenwriter and director Walter Reisch (1903–1983) will serve as a case study to discuss various forms of self-reflexivity in the context of genre studies, screenwriting studies and the early sound film. Different forms and categories of self-referential uses of music in Reisch’s work will be examined and contextualized within early sound cinema in Austria and Germany in the 1930s. The results of this investigation suggest that Reisch’s early screenplays demonstrate that the amount of self-reflexivity in early Austro-German music films is closely connected to music. Self-referential devices were closely connected to generic conventions during the formative years and particularly highlight characteristics of Reisch’s writing style. The relatively early emergence of self-reflexive and “self-conscious” moments of music in film already during the silent period provides a perfect starting point to advance discussions about the musical discourse in film, as well as the role and functions of screenplays and screenwriters in this context.
9
BROWN, RICHARD H. "The Spirit inside Each Object: John Cage, Oskar Fischinger, and “The Future of Music”." Journal of the Society for American Music 6, no. 1 (February 2012): 83–113. http://dx.doi.org/10.1017/s1752196311000411.
Abstract:
AbstractLate in his career, John Cage often recalled his brief interaction with German abstract animator Oskar Fischinger in 1937 as the primary impetus for his early percussion works. Further examination of this connection reveals an important technological foundation to Cage's call for the expansion of musical resources. Fischinger's experiments with film phonography (the manipulation of the optical portion of sound film to synthesize sounds) mirrored contemporaneous refinements in recording and synthesis technology of electron beam tubes for film and television. New documentation on Cage's early career in Los Angeles, including research Cage conducted for his father John Cage, Sr.'s patents, explain his interest in these technologies. Finally, an examination of the sources of Cage's 1940 essay “The Future of Music: Credo” reveals the extent of Cage's knowledge of early sound synthesis and recording technologies and presents a more nuanced understanding of the historical relevance and origins of this document.
10
Helseth, Tore. "The Sound of Music in Early Documentary Film." Music and the Moving Image 17, no. 2 (2024): 3–17. http://dx.doi.org/10.5406/19407610.17.2.01.
Abstract:
Abstract The coming of sound in the late 1920s ended the standard practice of continuous live musical accompaniment of the silent era, as the human voice soon came to dominate the soundtrack. In the case of the music, there was a period of transition that lasted for several years during which different practices existed side by side. By the early 1930s, the conventions of film music as we understand them today were beginning to find their form. One of the trademarks of classical narrative cinema is its transparent style: the audience is not supposed to notice the fact that the movie is narrated. For the documentaries of the 1930s, however, this was not always the case. On the contrary, it was a conspicuous, nontransparent narrative style that distinguished many of these movies, which was also true for their music, which in many instances seems to have been conceived precisely to be heard. There are several reasons why this happened, and this article will examine the major causes in detail, using documentary film music by the composers Hanns Eisler, Benjamin Britten, and Virgil Thomson as examples.
11
Riis, Johannes. "Naturalist and Classical Styles in Early Sound Film Acting." Cinema Journal 43, no. 3 (2004): 3–17. http://dx.doi.org/10.1353/cj.2004.0023.
12
ZECHNER, INGEBORG. "Multiple-Music Versions?" Music, Sound, and the Moving Image 15, no. 2 (December 1, 2021): 133–64. http://dx.doi.org/10.3828/msmi.2021.9.
Abstract:
With the advent of sound film in the early 1930s the German film industry produced so-called multiple-language versions as a part of its internationalisation strategy. These versions were produced for the French, English, and Italian markets (often) with a new cast of actors. Despite the importance of music in these films, a systematic study on the role of music in these multiple-language versions is still lacking. This article offers a first case study on the topic by comparing the German, Italian, and French versions of the sound film-operetta Paprika (1932/1933). It will be illustrated that the music (rather than sound) as well as the use of the musical material in the versions of Paprika differed significantly. Musical adaptation was used as an important means to shape the film’s narrative and to create a distinct aesthetic for each of the film’s versions. Historically, there are evident parallels to the adaptation practice of opera and operetta over the past centuries.
13
Plewa, Elżbieta. "Napisy na ekranach kin II Rzeczypospolitej." Przekładaniec, no. 41 (2020): 214–53. http://dx.doi.org/10.4467/16891864pc.21.012.13594.
Abstract:
Polish Subtitling in the 1930s This article presents the results of an archival study on Polish subtitling of pre-WWII films (until 1939). The main focus will be on the technical aspects of subtitling in Poland in the 1930s, such as the number of lines, number of characters per line, and subtitle display times. We will show the development of Polish film translation in its initial phase. In our article, we will present previously unpublished pictures of early film subtitles, which come from original archival research. Contrary to some previous claims, film translation did not start with the introduction of sound in films – which occurred in Poland in the 1929/30 cinema season. Prior to that, in the silent cinema period, intertitles were a tested way of delivering content to the viewer. And these silent movies’ intertitles were translated. Copies of various foreign films have even been preserved with Polish intertitle translation rather than the original intertitles. Imitating intertitles in silent films, subtitles began to appear in films with sound and dialogue. These were “inserted subtitles” – between scene edits. Only later were subtitles burnt into the image, which began modern film subtitling.
14
Birtwistle, Andy. "Jack Ellitt as Director: Documentary Films of the 1940s." Journal of British Cinema and Television 18, no. 3 (July 2021): 329–59. http://dx.doi.org/10.3366/jbctv.2021.0577.
Abstract:
This article examines the work of the film-maker and composer Jack Ellitt (1902–2001) who remains something of an enigmatic and marginal figure in historical accounts of British documentary cinema. Research on Ellitt has so far focused on two key aspects of his life and career: firstly, his association with the New Zealand-born film-maker and artist Len Lye, and secondly, his pioneering work as a composer of electro-acoustic music. However, little research been undertaken on the work that he produced during the three decades he spent working as a documentary director in the British film industry, beginning in the early 1940s and ending with his retirement in the 1970s. He was a member of the remarkable generation of film-makers associated with the British documentary movement, and a composer whose radical experiments with recorded sound might well have secured him a more prominent place in the history of experimental music than is currently the case. Focusing on films made by Ellitt during the 1940s, the primary aim of this article is to offer a chronological appraisal of his early work as documentary director, while also considering what new perspectives this group of films might offer on his earlier creative collaboration with Lye, and the extent to which his radical experiments in electro-acoustic composition may have influenced the use of sound within the films he directed.
15
LEWIS, HANNAH. "“The Realm of Serious Art”: Henry Hadley's Involvement in Early Sound Film." Journal of the Society for American Music 8, no. 3 (August 2014): 285–310. http://dx.doi.org/10.1017/s1752196314000212.
Abstract:
AbstractComposer-conductor Henry Kimball Hadley (1871–1937) is widely viewed as a conservative musical figure, one who resisted radical changes as American musical modernism began to flourish. His compositional style remained firmly rooted in late-Romantic European idioms; and although Hadley advocated for American composition through programming choices as a conductor, he mostly ignored the music of younger, adventurous composers. In one respect, however, Hadley was part of the cutting edge of musical production: that of musical dissemination through new media. This essay explores Hadley's work conducting and composing film music during the transition from silent to synchronized sound film, specifically his involvement with Warner Bros. and their new sound synchronization technology, Vitaphone, in 1926–27. Drawing on archival evidence, I examine Hadley's approach to film composition for the 1927 filmWhen a Man Loves. I argue that Hadley's high-art associations conferred legitimacy upon the new technology, and in his involvement with Vitaphone he aimed to establish sound film composition as a viable outlet for serious composers. Hadley's example prompts us to reconsider the parameters through which we distinguish experimental and conservative musical practices, reconfiguring the definitions to include not just musical proclivities but also the contexts and modes through which they circulate.
16
Higgins, Scott. "Saturday Afternoon Blockbuster: James Bond‘s Serial Heritage." Film Studies 17, no. 1 (2017): 73–91. http://dx.doi.org/10.7227/fs.17.0005.
Abstract:
Just six years after the last American sound-era serial, Albert Broccoli and Harry Saltzman brought James Bond to the screen, launching the longest-lived and most influential film series of the post-studio era. This article considers how the first Bond films adapted the regular imperilments,and operational aesthetics of sound-serials. Early Bond films benefitted from a field of expectations, viewing strategies and conventions planted by the over 200 B-grade chapter-plays produced between 1930 and 1956. Recourse to these serial strategies conferred tactile immediacy and ludic clarity to the films, and facilitated engagement with the Bond beyond the cinema.
17
Fyodorova, Anastasia Aleksandrovna. "Soviet Film Expeditions of the 1930's through the Eyes of Greater Tokyo Inhabitants." Journal of Flm Arts and Film Studies 5, no. 4 (December 15, 2013): 21–28. http://dx.doi.org/10.17816/vgik5421-28.
Abstract:
The early 1930's were a turning point in the history of Japan and its cinema. The transition to the sound film, the rapid development of documentary genre and use of it for propaganda purposes took place in the context of the filmmakers' interest to the experience of Soviet cinema, its highly expressive editing, documentary style and ideological partiality. The sound documentary «Greater Tokyo» (1932) by V. Shneiderov was created in these years. The film has been forgotten for a long time due to various reasons. The author tries to return the film into the historical context of the early 1930's and analyze the perception of Soviet documentaries in the pre-war Japan.
18
Schulze, Peter W. "The Trans/national Cultural Economy of Latin American Film Musicals (1930s-50s)." Journal of Foreign Languages and Cultures 5, no. 2 (December 28, 2021): 127–42. http://dx.doi.org/10.53397/hunnu.jflc.202102012.
Abstract:
This essay traces the tensions between national imaginaries and transnational global media flows of tango, samba, and ranchera film musicals, taking into account their cross-media and intercultural configurations as well as interconnections between these three “transgenres.” From a comparative perspective and by means of a “histoire croisée,” or crisscrossing history, it touches upon developments in early Latin American sound film, Hollywood’s Spanishlanguage films and its Pan-Americanism, Spain’s cinematic Hispanoamericanismo, and Pan-Latin American film productions. The essay makes a case for the multifaceted trans/national cultural economy of the tango, samba, and ranchera film musical productions during their main phase, in the 1930s and 40s.
19
Benjamin, Kallan. "Writing in Sound: Frances Marion at MGM, 1925–1933." Film History: An International Journal 34, no. 4 (2022): 59–82. http://dx.doi.org/10.2979/fih.2022.a900042.
Abstract:
ABSTRACT: This paper examines screenwriter Frances Marion's use of sound in scripts she wrote during the transitional period from silent to sound film. Engaging feminist historiography, screenwriting studies, and sound studies, I argue that Marion's expressive use of narrativized sound in both sound and silent scripts was remarkably innovative, yet underappreciated. Her skillful use of integrated sound helps account for her success in the early 1930s and aligns with the style of sound filmmaking that later came to dominate.
20
Macpherson, Ian. "The Electric Ear: Early Film Sound Technology and Acoustic Spaces – From a Box of Insects to a Tomb of Make-Believe." New Soundtrack 1, no. 1 (March 2011): 29–41. http://dx.doi.org/10.3366/sound.2011.0004.
21
Huvenne, Martine. "Towards a radically different understanding of experience: Looking for an heautonomous auditory field in film." Soundtrack 3, no. 2 (December 1, 2010): 139–49. http://dx.doi.org/10.1386/st.3.2.139_1.
Abstract:
What can be the status of sound in film? Is sound always dependent on image in film? Or is it possible to give sound a more autonomous status? If yes, what are the consequences for the workflow?In the 1980s and early 1990s two opposing propositions about the relation of the audible and the visible in film were presented. For Michel Chion the auditory field is completely a function of what appears on screen and for Gilles Deleuze the externality of the visual image as uniquely framed has been replaced by the interstice between two framings, the visual and the sound.Introducing the auditory field as multi-layered, dynamic, experienced and embodied, the author proposes a phenomenological approach of the audio-visual that moves towards a different understanding of the filmic experience, which has its roots in a phenomenology of auditory experience. In the practice-based research project, Surrounded, the author explored together with sound designer and sound mixer Griet Van Reeth, how the creative process of film-making can start from the auditory field, including inner sound and a heautonomy of the auditory field.
22
MacDonald, Scott. "Avant-Doc: Eight Intersections." Film Quarterly 64, no. 2 (2010): 50–57. http://dx.doi.org/10.1525/fq.2010.64.2.50.
Abstract:
An overview of the interlinking aesthetic and institutional histories of avant-garde and documentary film in terms of: early experiments; city symphonies; visual poetry and politics; film societies; sound options; the Flaherty Seminar; the personal; contemplating nature.
23
DOYLE, PETER. "From ‘My Blue Heaven’ to ‘Race with the Devil’: echo, reverb and (dis)ordered space in early popular music recording." Popular Music 23, no. 1 (January 2004): 31–49. http://dx.doi.org/10.1017/s0261143004000042.
Abstract:
With the dramatically improving fidelity of electric sound recording in the 1920s, aural spatiality – traces of room ambience and reverberation – became a factor in record production. Drawing on prior radio broadcast practice, a split occurred whereby ‘fine’ orchestral musics were recorded with relatively high levels of ambient or atmospheric sound while dance music, popular songs, humorous recitations and other ‘low’ forms were generally recorded with little or no reverberation. Through the 1930s and 1940s, popular recording occasionally, though increasingly, made use of mechanically fabricated echo and reverb to present a kind of sonic pictorialism, especially on singing cowboy and popular ‘Hawaiian’ recordings. Hollywood film sound practice in this period employed similar sonic space-making devices to denote states of terror, mystical revelation and supernatural transformations. The coming of rock ‘n’ roll in the 1950s, with its characteristic big echo and reverb production sounds, may be seen as the radical recombining of these contradictory antecedents, effected in such a way as to allow (and promote) disordered, non-pictorial sound spatialities.
24
Slowik. "Experiments in Early Sound Film Music: Strategies and Rerecording, 1928-1930." American Music 31, no. 4 (2013): 450. http://dx.doi.org/10.5406/americanmusic.31.4.0450.
25
Belton, J. "Awkward Transitions: Hitchcock's Blackmail and the Dynamics of Early Film Sound." Musical Quarterly 83, no. 2 (January 1, 1999): 227–46. http://dx.doi.org/10.1093/mq/83.2.227.
26
Putcha, Rumya S. "The Mythical Courtesan." Meridians 20, no. 1 (April 1, 2021): 127–50. http://dx.doi.org/10.1215/15366936-8913140.
Abstract:
Abstract This article interrogates how and why courtesan identities are simultaneously embraced and disavowed by Brahman dancers. Using a combination of ethnographic and critical feminist methods, which allow the author to toggle between the past and the present, between India and the United States, and between film analysis and the dance studio, the author examines the cultural politics of the romanticized and historical Indian dancer—the mythical courtesan. The author argues that the mythical courtesan was called into existence through film cultures in the early twentieth century to provide a counterpoint against which a modern and national Brahmanical womanhood could be articulated. The author brings together a constellation of events that participated in the construction of Indian womanhood, especially the rise of sound film against the backdrop of growing anticolonial and nationalist sentiments in early twentieth-century South India. The author focuses on films that featured an early twentieth-century dancer-singer-actress, Sundaramma. In following her career through Telugu film and connecting it to broader conversations about Indian womanhood in the 1930s and 1940s, the author traces the contours of an affective triangle between three mutually constituting emotional points: pleasure, shame, and disgust.
27
Gillespie, David C. "The Sounds of Music: Soundtrack and Song in Soviet Film." Slavic Review 62, no. 3 (2003): 473–90. http://dx.doi.org/10.2307/3185802.
Abstract:
In this article, David C. Gillespie explores the deliberate foregrounding of music and song in Soviet film. He begins with a discussion of the structural and organizing roles of music and song in early Soviet sound films, including tiiose by Sergei Eizenshtein, Grigorii Aleksandrov, Ivan Pyr'ev, and Aleksandr Ivanovskii. Gillespie then focuses on the emphasis on urban song in some of the most popular films of the stagnation years, such as The White Sun of the Desert (1969) and Moscow Does Not Believe in Tears (1979), adding considerably to the appreciation of these films. To conclude, he analyzes folk music in films about village life, especially those directed by Vasilii Shukshin, and explores the role of music in constructing a mythical and nationalistic discourse.
28
Crowdus, Miranda. "“Sounds and sweet airs, that give delight, and hurt”." Living Histories: A Past Studies Journal 1 (June 6, 2022): 22–31. http://dx.doi.org/10.24908/lhps.v1i1.15561.
Abstract:
This article addresses Indigenous film-maker, Lisa Jackson’s, skillful and strategic integration of selections of Western Art Music from the Early and Late Classical period in the soundtracks of her recent films. This strategy draws attention to indigenous perspectives on economic and cultural sustainability, as well as to the threat posed to indigenous continuity by colonialist legacies, past and present. In Jackson’s films, the excerpts from Western Art Music comprising the musical score “takes over” the narrative; their sound is pleasant, but unseen, insidious and triumphant, ultimately a duplicitous and malevolent dominating force. In my view, the selections from Western Art Music function as a metaphor for the unseen, insidious and ever-present forces of colonialism that control the negative behaviors and lives of the indigenous protagonists in the film narrative. This metaphor functions on both macro (formal and performative) and micro (melodic and chordal) levels. On a meta-narratival level, Jackson’s soundtracks draw attention to contemporary audience’s de-sensitization to the use of sonic repertoires in popular cinema and to the normalization of the congruence of sound and musical material and film narrative. Jackson’s adaptation of the musical material suggests that in order to shed colonialist legacies, we must also interrogate their often physical heard, but cognitively and critically unremarked, accompanying soundtracks.
29
Poppe, Nicolas. "Approaching the (Trans)National in Criticism of Early Latin American Sound Film." Cinema Journal 54, no. 1 (2014): 115–20. http://dx.doi.org/10.1353/cj.2014.0062.
30
Hess, Franklin L. "Sound and the Nation: Rethinking the History of Early Greek Film Production." Journal of Modern Greek Studies 18, no. 1 (2000): 13–36. http://dx.doi.org/10.1353/mgs.2000.0008.
31
Niazi, Sarah Rahman. "White Skin/Brown Masks: The Case of ‘White’ Actresses From Silent to Early Sound Period in Bombay." Culture Unbound 10, no. 3 (February 13, 2019): 332–52. http://dx.doi.org/10.3384/cu.2000.1525.2018103332.
Abstract:
My paper explores categories of gender, ethnicity, modernity and performance through the figure of the ‘white’ actress in the early years of Indian cinema (1920-1940). Film was a lucrative site of business for intrepidly ambitious individuals in search of reinvention in Bombay. For women from ‘white’ backgrounds, cinema became a means to recast their identity; helping them reclaim the public sphere in new and radical ways. The trace of ‘white’ actresses in the history of Indian cinema configures and transforms the status of performers and performance from the silent to the early sound period. The industry attracted a large number of Anglo Indian, Eurasian and Jewish girls, who became the first group of women to join the industry uninhibited by the social opprobrium against film work. I use hagiographic records, film reviews and stills to map the roles women from the Anglo Indian and Jewish communities were dressed up to ‘play’ in the films. These roles helped perpetuate certain stereotypes about women from these communities as well as impinged on the ways that their identity was configured. Through the history of the Anglo Indian and Jewish women in the larger public sphere I lay out and highlight the field from where individuals and personalities emerged to participate in the cinematic process. I see the community as marking and inflecting a system of signs on the body of these women through which identity was constructed and their attempts at reinvention were engendered - a process of individuation, of ‘being’ and of being framed within a particular logic of the popular imaginary frames of representation.
32
Pomostowski, Piotr. "Muzyczny eklektyzm w trzech etiudach Romana Polańskiego. Rozbijemy zabawę, Lampa i Gdy spadają anioły." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 20, no. 29 (March 15, 2017): 301–11. http://dx.doi.org/10.14746/i.2017.29.19.
Abstract:
Author of the article, juxtaposing together three studies school of Roman Polanski, discusses the functions of music used in each of them. Due to the fact that the entire work the author of the Pianist’s is characterized by musical eclecticism – which is the main thesis of the article – it is proposed to look at the film music of early Polanski films, and to try to find a specific lineage of this eclecticism. Break Up the Dance, Lamp and When Angels Fall titles, which in the light filmic and musicological investigations differ from each other. Do not change the fact that each of these works “signs” that the director – the creator of not only the visual layer, but also (not forgetting the work of the composer) sound. In his early work Roman Polanski begins to create a kind of “range of methods” in relation to functions of music in the work of the film. The article is an attempt to systematize them and to find the film and the music key.
33
Pułka, Leszek. "Kino, czyli świat. Recenzja książki "KINtop. Antologia wczesnego kina", red. Andrzej Dębski i Martin Loiperdinger, Wrocław 2016, część I, ss. 452, część II, ss. 452." Studia Filmoznawcze 40 (June 27, 2019): 237–41. http://dx.doi.org/10.19195/0860-116x.40.19.
Abstract:
Cinema or the world. Review of the book Kintop. Antologia wczesnego kina, ed. By Andrzej Dębski and Martin Loiperdinger, Wrocław 2016, Part I, 452 pp., Part II, 452 pp.The texts included in the anthology edited by Andrzej Dębski and Martin Loiperdinger were chosen from the yearbooks of KINtop of the period 1992–2013. They show the change of the cinema paradigm and the most important tendencies of the media and cultural modernism turn. Both volumes fill the cognitive gap in the Polish film studies. They bring out the value of the Polish–German scientific cooperation of authors and they present the state of researches of the so-called early cinema. Apart from the treatises on the phenomenon of film the book consists of some articles on institutions of the early cinema, on the evolution of film forms — from short-feature movies to full-length ones, on the changes of esthetics, on the connection of picture and sound, cinema and literature and also on the glocalization of cinema. The book gives the panoramic view, which is methodologically inspiring and cognitively brilliant.
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Elsaket, Ifdal. "SOUND AND DESIRE: RACE, GENDER, AND INSULT IN EGYPT'S FIRST TALKIE." International Journal of Middle East Studies 51, no. 2 (May 2019): 203–32. http://dx.doi.org/10.1017/s0020743819000023.
Abstract:
AbstractThis article explores the coloniality of gender, sexuality, and desire, and the links between nationalist and commercial imperatives, in the making of Egypt's first sound film, or talkie, in 1932. Through an analysis of the politics, economy, and memory of Yusuf Wahbi's filmAwlad al-Dhawat(Sons of the Aristocrats), it shows how the interplay between new sound technologies, the global film trade, and nationalist and racialized narratives of gender and resistance shaped the contours of ideal femininity and masculinity during the interwar period in Egypt. The article also shows how the film's representations formed at the intersection between the filmmakers’ attempts to challenge colonial stereotyping and their efforts to capture an ever-expanding global film market. Often neglected in cinema scholarship, early filmmaking in Egypt, I argue, is critical to understanding wider processes of nation formation and gendered characterizations.
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Zamora Salamanca, Francisco José. "Una temprana polémica sobre el policentrismo de la lengua española (1929- 1931): el caso de la industria cinematográfica hispanoamericana." Revista de Filología de la Universidad de La Laguna, no. 45 (2022): 175–96. http://dx.doi.org/10.25145/j.refiull.2022.45.09.
Abstract:
"This research deals with the historical study of the linguistic attitudes underlying the controversy that originated in the beginning of sound films (1929-1931) about the pronunciation of spoken films in Spanish. Until now, this topic has been studied by film historians, but it has not been treated in depth from a linguistic perspective, so the purpose of this work is to make an interdisciplinary contribution that allows us to understand the meaning and repercussion of this early controversy in the process of recognition of the Latin American pronunciation of the Spanish language held in Madrid in April 1956"
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Deggeller, Kurt. "From “Sound” to “Sound and Audiovisual”: History and Future of IASA." International Association of Sound and Audiovisual Archives (IASA) Journal, no. 52 (August 19, 2022): 7–13. http://dx.doi.org/10.35320/ij.v0i52.146.
Abstract:
IASA emerged in 1969 from IAML, the International Association of Music Libraries, Archives and Documentation Centres. The interests of IAML’s members largely focused on music as manuscript or score, and musical sound recordings were dealt with in the Record Library Committee. IASA was founded to consider additional types of sound recordings, including research and oral history. From the frst years of IASA’s existence, the question of the organisation’s relationship to the moving image arose, represented by the International Federation of Film Archives (FIAF). But as early as 1979, a delegate from the United States also brought video into play. With independence from IAML in the late 1980s, an intensive discussion began about the future of IASA and the expansion of the scope of the association to include audiovisual documents. Finally in 1999, the constitution and the name of the association were adapted. The transformation process triggered by this name change is still underway today. It could prove to be an advantage for IASA because it opens possibilities of adaptation to the rapidly changing world of audiovisual production due to digitisation and online media.
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Grube, Elizabeth. "'So Long, Farewell’." Undergraduate Research Journal for the Humanities 2, no. 1 (April 1, 2017): 109–33. http://dx.doi.org/10.17161/1808.23877.
Abstract:
The early 1960s created the brewing of social change before the explosion of the cultural revolution of the late 1960s. In this period, Hollywood released its first family movies, Mary Poppins in 1964 and The Sound of Music in 1965, meant to be enjoyed by children and parents alike. These two movies enjoyed a wealth of surprising success, sweeping the academy awards and establishing The Sound of Music as the top grossing film of all time, surpassing America’s beloved Gone With The Wind. Historians and contemporaries alike have questioned and offered answers as to why two movie musicals would capture the attention of the nation with such force. This thesis seeks to argue that Mary Poppins and The Sound of Music addressed fears concerning the breakdown of family life, feminine and maternal identity, questions of child rearing and provided wholesome family entertainment that the American family was seeking, while pioneering as the first films in the family movie movement.
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Engelberts, Matthijs. "Beckett Et Les Premières Théories Cinématographiques." Samuel Beckett Today / Aujourd'hui 17, no. 1 (November 1, 2007): 331–50. http://dx.doi.org/10.1163/18757405-017001023.
Abstract:
This article examines the influence of early film theories, those of the 1920s and '30s, on the first scenario for the screen – and the only strictly cinematographic work – written by Beckett : In spite of the facts known thanks to his correspondence, for example Beckett's reading in the 1930s of texts published by Rudolf Arnheim, Vsevolod Pudovkin and Sergei Eisenstein, and in spite of the attention that critics, including Deleuze, have given to Beckett's works for the cinema and television, Beckett's use of these modernist film theories has not been analyzed structurally. Color, sound, close-up : these three hotly debated issues are re-examined by Beckett in the sixties, largely along the lines of early film theory.
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Henkel, Dennis. "The two sides of the scalpel: The polarizing image of surgery in early cinema." PLOS ONE 17, no. 12 (December 21, 2022): e0279422. http://dx.doi.org/10.1371/journal.pone.0279422.
Abstract:
This paper uses extensive database research, film viewing and literature review to show how the field of surgery was staged in the early days of film history. It can be shown that–although surgical medicine was a subject in transition, and many scientific breakthroughs (anesthesia und antisepsis) made surgery less painful and more complication-free–filmmakers still frequently resorted to horror memories of the past and created a questionable, or ambivalent image of the surgeon, sometimes as extreme as the “lunatic with a scalpel” stereotype, blurring the line between genius and madness. But there were also positive staging’s: The surgical intervention was often captured on the screen as a last resort for clinically hopeless cases, with the surgeon often presented as a “deus ex machina”, the savior out of nowhere. Other specialties, however, such as plastic surgery, were mostly positively dramatized, which reveals a stark contrast to research about the representation of the field in the sound film era. A view at the fields of neurosurgery and (selectively) opthalmo-surgery rounds out the panorama of forty-one surgical films. In summary, it is shown that the early surgical film depicts the specialty and the surgeon in a highly ambivalent way, from savior to monster thereby reflecting one of the most significant transitions in the history of surgery and showing us what image was presented to the public–and thus to potential patients–in the movie theaters.
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Mauss, Nick. "On Werner Schroeter." October, no. 179 (2022): 132–36. http://dx.doi.org/10.1162/octo_a_00451.
Abstract:
Abstract In this essay, artist Nick Mauss draws attention to the slippage between image and sound in Werner Schroeter's early films, proposing that the deliberate misalignment between song, speech, gesture, and affect opens a space of radical intimacies and unforeseen expressive potentialities that inflect Mauss' own work. Tracing Schroeter's influences through romantic and modernist literature, avant-garde film, philosophy, pop music, and, most importantly, through the advent of the lip sync as a performative resistance to interpellation, Mauss also addresses Schroeter's artistic debt to the filmmaker Edward Owens.
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Amanzholova, D. "Documentary films of the 1920s-1930s about the dynamics of the socio-cultural space of the Kazakh ASSR." Bulletin of the L.N. Gumilyov Eurasian National University. Historical Sciences. Philosophy. Religion Series 143, no. 2 (2023): 33–53. http://dx.doi.org/10.32523/2616-7255-2023-143-2-33-53.
Abstract:
Documentary films about Kazakh ASSR have not yet been included in the systematic field of historical research of the early Soviet period. Meanwhile, this visual source is an important component of the analysis of Soviet ethnonational policy of the 1920s-1930s. Filmography at the initial stage of its formation captured the transition of Kazakh society from tradition to modernity, deep socio-economic and other transformations in the Kazakh ASSR. The silent and sound documentary chronicles, reports, more complex in composition and drama film documents stored in the funds of the Central State Archive of Film and Sound Recordings of the Republic of Kazakhstan are of undoubted value. Almost all the most significant transformations in the republic in the early Soviet period were captured by experienced directors and cameramen in such a way that they give a concrete and voluminous idea of the changes in the social structure of society, the formation of the national working class and ethno-political elite, the solution of the "women's issue", urbanization, economic specialization of the regions of the Kazakh ASSR, the introduction of new standards of professional activity and private practices, daily life and major political events. Of great interest are the films recorded by documentary filmmakers, dramaturgically and compositionally arranged in accordance with the main trends in the development of cinema, as well as the socio-cultural and ideological-political paradigm of the Soviet state. Along with the traditional archival and published written historical sources available to scientists, film documents serve to study and complex understanding of the essence, manifestations and results of nation-building in the 1920s and 1930s. The article considers examples of a number of documentaries of the greatest interest for understanding modernization shifts and ambivalent manifestations of the transformations of the era of industrialization, collectivization and cultural revolution in the Kazakh ASSR.
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Stilwell, Robynn J. "Black Voices, White Women's Tears, and the Civil War in Classical Hollywood Movies." 19th-Century Music 40, no. 1 (2016): 56–78. http://dx.doi.org/10.1525/ncm.2016.40.1.56.
Abstract:
Two musical trends of the 1930s—the development of a practice for scoring sound films, and the increasing concertization of the spiritual in both solo and choral form—help shape the soundscape of films based in the South and/or on Civil War themes in early sound-era Hollywood. The tremendous success of the Broadway musical Show Boat (1927), which was made into films twice within seven years (1929, 1936), provided a model of chorus and solo singing, and films like the 1929 Mary Pickford vehicle Coquette and the 1930 musical Dixiana blend this theatrical practice with a nuanced syntax that logically carries the voices from outdoors to indoors to the interior life of a character, usually a white woman. Director D. W. Griffith expands this use of diegetic singing in ways that will later be the province of nondiegetic underscore in his first sound film, Abraham Lincoln (1930). Shirley Temple's Civil War–set films (The Little Colonel and The Littlest Rebel [both 1935] and Dimples [1936]) strongly replicate the use of the voices of enslaved characters—most of whom are onscreen only to provide justification for the source of the music—to mourn for white women. Jezebel, the 1938 antebellum melodrama, expands musicodramatic syntax that had been developed in single scenes or sequences over the entire second act and a white woman's fall and attempted redemption. Gone with the Wind (1939) both plays on convention and offers a moment of transgression for Prissy, who takes her voice for her own pleasure in defiance of Scarlett O'Hara. The detachment of the spiritual from the everyday experience of African Americans led to a recognition of the artistry of the music and the singers on the concert stage. In film, however, the bodies of black singers are marginalized and set in service of white characters and white audiences.
43
Wengström, Jon. "Preserving, restoring and accessing silent and early sound films from existing elements in the Archival Film Collections of the Swedish Film Institute." Journal of Scandinavian Cinema 2, no. 2 (August 29, 2012): 161–75. http://dx.doi.org/10.1386/jsca.2.2.161_1.
44
Bellano, Marco. "Silent Strategies: Audiovisual Functions of the Music for Silent Cinema." Kieler Beiträge zur Filmmusikforschung 9 (July 8, 2023): 46–76. http://dx.doi.org/10.59056/kbzf.2012.9.p46-76.
Abstract:
Studies on film music have often overlooked the difference between the audiovisual strategies of sound cinema and the ones of silent cinema. However, there are at least two audiovisual strategies which are peculiar to silent cinema: a ›bridge‹ function born from the improvisational nature of silent film music practice, and a ›interdiegetic‹ function, which takes advantage of the impossibility to hear the sounds of the world seemingly positioned beyond the silver screen. This paper comments upon these two strategies. A succinct review of the literature that already acknowledged the existence of these strategies, mostly in an indirect way (from Ricciotto Canudo to Sebastiano Arturo Luciani, Edith Lang and George West) leads to the discussion of examples from historical musical illustrations of silents (e.g. one by Hugo Riesenfeld for Cecil B. DeMille’s CARMEN, USA 1915) as well as from contemporary ones (e. g. Neil Brand’s 2004 music for THE CAT AND THE CANARY, USA 1927, Paul Leni). The change in reception conditions of silent films between the early 20th century and the present days is certainly relevant; however, this paper does not aim to offer an insight into cultural-historical context and reception, but to point out how the silent film language invited composers in different periods to develop a set of audiovisual strategies that are identical on a theoretical level.
45
Hoyer, Dirk. "Dimitri Kirsanoff: The Elusive Estonian." Baltic Screen Media Review 4, no. 1 (December 1, 2016): 4–14. http://dx.doi.org/10.1515/bsmr-2017-0001.
Abstract:
Abstract This article investigates the contradictory information about the Estonian identity of the filmmaker Dimitri Kirsanoff (1899–1957) and examines the archival material that provides final confirmation of his birth and childhood in Tartu. In addition, Kirsanoff’s substantial contribution to silent cinema and his significance in the context of French avant-garde impressionism are discussed. Kirsanoff’s most acclaimed film Ménilmontant (France, 1926) was released 90 years ago. It is still frequently screened all over the world, due to its experimental montage techniques, the early use of handheld cameras, its innovative use of actual locations and the actors’ performances that still resonate with contemporary audiences. Ménilmontant is also influential because of its elliptical narrative style. However, with the advent of sound film, Kirsanoff’s career declined because the reorganisation of the film industry limited the creative freedom he enjoyed in the 1920s. This article attempts to contribute to a wider acknowledgement of Dimitri Kirsanoff’s Estonian origins, his films and his important place in the world cinema.
46
Carroll, Jessie. "From Yale to Hollywood: A Journey in Film Directing with John Badham." Film Matters 14, no. 2 (September 1, 2023): 72–76. http://dx.doi.org/10.1386/fm_00286_1.
Abstract:
John Badham is a film and television director whose creative works are notable for the ways they have influenced a range of American cultural norms and attitudes, especially in the 1970s. Indeed, his commercial and creative success, Saturday Night Fever (1977) was recognized by the Library of Congress in 2001 for its cultural, historic, and aesthetic significance. The director began his career in theater and television and quickly broadened into feature filmmaking. His films have been nominated for five Academy Awards and two Emmy Awards, and he has won three Saturn Awards from the Academy of Science Fiction and Fantasy. In this interview for Film Matters, John Badham—also a professor at Chapman University—shares his early influences, his formative years in Hollywood, and his creative approach to filmmaking, including the importance of sound and innovative adaptation.
47
SIMONSON, MARY. "Visualizing Music in the Silent Era: The Collaborative Experiments of Visual Symphony Productions." Journal of the Society for American Music 12, no. 1 (January 25, 2018): 2–36. http://dx.doi.org/10.1017/s1752196317000505.
Abstract:
AbstractIn July 1922, the New York Times reported that the “encouraging little film” Danse Macabre was screening at the Rialto Theater in New York City. Directed by filmmaker Dudley Murphy, it starred dancers Adolph Bolm and Ruth Page in a visual interpretation of Saint-Saëns's Danse Macabre that synchronized perfectly with live performances of the composition. While film scholars have occasionally cited Danse Macabre and Murphy's other shorts from this period as examples of early avant-garde filmmaking in the United States, discussions of the films are mired in misunderstanding. In this article, I use advertisements, reviews, and other archival materials to trace the production, exhibition, and reception of Murphy's Visual Symphony project. These films, I argue, were not Murphy's alone: rather, they were a collaborative endeavor guided as heavily by musician and film exhibitor Hugo Riesenfeld as by Murphy himself. Recast in this way, the Visual Symphony project highlights evolving approaches to sound–image synchronization in the 1920s, the centrality of theater conductors and musicians to filmmaking in this period, and the various ways in which filmmakers, performers, and exhibitors conceptualized the relationship between music and film, and the live and the mediated, in the final decade of the silent era.
48
قرقابو, سعاد. "لمحة عن البدايات الأولى للدبلجة." Traduction et Langues 10, no. 1 (August 31, 2011): 153–66. http://dx.doi.org/10.52919/translang.v10i1.497.
Abstract:
A Glimpse of the Early Beginnings of Dubbing
The seventh art has made it possible to put life into a picture and to make it look vibrant. The silent movies started, and soon sound was introduced to generate films with synchronized dialogues. On the other hand, the challenge was the language barrier because it was no longer possible to comprehend the movie with all its various dimensions fully. As people demanded films in their language, translation was mandatory. This article gives a glimpse of the appearance of the dubbing and its first beginnings in the world, and its historical path, as is the pattern of every mechanism or technique, be it social, artistic, cultural, scientific, economic... It has a historical trajectory that captures its first steps and constrains the motives behind its emergence. Finally, we concluded that dubbing appeared to solve the language problem. In other words, it was the most effective way to overcome the language barriers that emerged with the non-silent movies. We considered then that the dubbing mechanism emerged as a solution to the language problem, and it constituted the effective means to overcome the linguistic obstacles that appeared by inserting the sound into the image. With the emergence of the talking film, it was possible to enable societies with different tongues to understand films and enjoy watching them. As soon as the viewer faced difficulty to fully understanding the film, with the coupling of the sound and the image things changed.It became difficult for viewers to understand the presented material because images were not understood by everyone in accordance to differences in terms of languages and cultures. A century after the emergence of the dubbing mechanism, it was le to spread all over the world, and it achieved great success.
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Kristanto, Wisnu. "PENGEMBANGAN FILM PENDEK BERBASIS KARAKTER PADA ANAK USIA DINI DI TK. MAARIF NU. HASANUDIN, SURABAYA." JURNAL PAUD AGAPEDIA 2, no. 1 (May 2, 2020): 1–11. http://dx.doi.org/10.17509/jpa.v2i1.24383.
Abstract:
AbstractThe development of this short film was held at Maarif NU Foundation School. HASANUDIN, SURABAYA. Short film media is expected to make early childhood more interested in following the play activities and motivation triggered doing good karakter in him. The research objectives are: 1. Develop a character-based short film that is played by early childhood, 2. Discusses the constraints that occur during the development of this character-based short film. Conclusions that can be taken during the process of developing a character-based short film: 1. There is difficulty in preparing the child in the direction of style and dialogue in front of the camera. 2. It takes a long time, and the production cost is great. Conclusions can be drawn after the process of developing a karaker-based short film: 1 Early-age children who use Audio-Visual Media (FILM) are more interested and more motivated to follow lessons, especially in moral and religious values (based on the basis of film, character). 3. There are some obstacles encountered when the media is displayed during the course of learning: a. The use of film media is required to use a closed room because it requires a slightly dark space for the film looks clear. b. Using audio requires a long preparation, starting from preparing the media, c. Requires many supporting media, including Film (mainstream media), Projector, laptop, sound. d. The teacher must be an expert in operating this medium. Pengembangan film pendek ini dilaksanakan di Lembaga PAUD Maarif NU. HASANUDIN, SURABAYA. Media film pendek ini diharapkan membuat anak usia dini semakin tertarik dalam mengikuti kegiatan bermain dan terpicu motivasinya melakukan karaker-karekter baik dalam dirinya. Adapun tujuan penelitian yang ingin diperoleh adalah: 1.Mengembangkan sebuah film pendek berbasis karakter yang dimainkan oleh anak usia dini, 2. Membahas kendala-kendala yang terjadi selama pengembangan film pendek berbasis karakter ini. Kesimpulan yang dapat diambil selama proses pengembangan film pendek berbasis karakter : 1. Terdapat kesulitan dalam mempersiapkan anak dalam pengarahan gaya dan dialog di depan kamera. 2. Memakan waktu yang cukup lama, dan biaya produksi yang besar. Kesimpulan yang dapat diambil setelah proses pengembangan film pendek berbasis karaker: 1 Anak usia dini yang menggunakan Media Audio Visual (FILM) lebih tertarik dan lebih termotivasi untuk mengikuti pelajaran, terutama dalam aspek nilai moral dan agama (sesuai dengan basis dari film,karakter). 3. Ada beberapa kendala yang dihadapi ketika media di ditayangkan sewaktu pembelajaran antara lain: a. Penggunaan media film diharuskan menggunakan ruangan yang tertutup rapat karena memerlukan ruang yang sedikit gelap agar film tampak jelas. b. Mengunakan audio membutuhkan persiapan yang lama, mulai dari mempersiapkan media, c. Memerlukan banyak media pendukung, antara lain Film (media utama), Proyektor, laptop, sound. d. Guru harus ahli dalam mengoperasikan media ini.
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Kennedy-Karpat, Colleen. "Teaching L’Opéra-Mouffe (1958)." Short Film Studies 12, no. 1 (May 1, 2022): 97–104. http://dx.doi.org/10.1386/sfs_00070_1.
Abstract:
This article describes the advantages of teaching Agnès Varda’s early short film L’Opéra-Mouffe, known in English as Diary of a Pregnant Woman, in an introductory course on film form. This award-winning, sixteen-minute film offers a compelling demonstration of the core characteristics of the essay film, along with readily teachable examples of visual metaphor, cinematography, sound, and editing. Its cultural and auteurist contexts can also complement a variety of curricular topics, including the French New Wave and Left Bank creators, post-war France, and feminist filmmaking. Finally, its focus on Varda’s personal experience of pregnancy also makes L’Opéra-Mouffe an ideal vehicle to introduce radical feminist pedagogies that recognize and value personal experience as a valid way of knowing about the world.