Littérature scientifique sur le sujet « Early sound film »
Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres
Consultez les listes thématiques d’articles de revues, de livres, de thèses, de rapports de conférences et d’autres sources académiques sur le sujet « Early sound film ».
À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.
Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.
Articles de revues sur le sujet "Early sound film"
Lewis, Hannah. « The singing film star in early French sound cinema ». Soundtrack 12, no 1 (1 novembre 2020) : 21–37. http://dx.doi.org/10.1386/ts_00010_1.
Texte intégralSpadoni, 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.
Texte intégralRobinson, 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 (avril 2020) : 172–90. http://dx.doi.org/10.3366/jbctv.2020.0518.
Texte intégralTieber, Claus, et Anna K. Windisch. « Musical moments and numbers in Austrian silent cinema ». Soundtrack 12, no 1 (1 novembre 2020) : 7–20. http://dx.doi.org/10.1386/ts_00009_1.
Texte intégralMarez, 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.
Texte intégralMacDonald, Shana. « Voicing Dissonance ». Feminist Media Histories 1, no 4 (2015) : 89–107. http://dx.doi.org/10.1525/fmh.2015.1.4.89.
Texte intégralVidojković, Dario. « Early Representations of Wartime Violence in Films, 1914–1930 ». Cultural History 6, no 1 (avril 2017) : 37–56. http://dx.doi.org/10.3366/cult.2017.0134.
Texte intégralTieber, Claus, et Christina Wintersteller. « Writing with Music : Self-Reflexivity in the Screenplays of Walter Reisch ». Arts 9, no 1 (28 janvier 2020) : 13. http://dx.doi.org/10.3390/arts9010013.
Texte intégralBROWN, 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 (février 2012) : 83–113. http://dx.doi.org/10.1017/s1752196311000411.
Texte intégralHelseth, 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.
Texte intégralThèses sur le sujet "Early sound film"
Rogoff, Jana. « Audiovisual (a)synchrony in early Soviet sound film ». Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2016. http://dx.doi.org/10.18452/17533.
Texte intégralThe dissertation is a media-historical study of the emergence of sound in Soviet cinema, which links aesthetic and technological changes to the broader political and cultural context. Over the last decade, histories of early sound film have usually contrasted the Soviet method of asynchronous sound to the prevalent method of tight synchronization as it was popularized by the Hollywood film industry in the late 1920s and early 1930s. The dissertation looks beyond this standardized narrative. In a series of case studies, it analyzes the work of Soviet filmmakers, screenwriters, film theoreticians and acoustical engineers to demonstrate that many diverse approaches to sound were actually in play at the onset of film sound in the Soviet Union. The dissertation focuses on both film sound theory and practice mainly in the works of Dziga Vertov, Nikolai Ekk, Pavel Tager and Mikhail Tsekhanovsky. The terms “asynchronicity” and “synchronicity” were central in the debates about the emergence of sound film in the Soviet Union. This study provides the first thorough examination of these terms within the context of the complex origins of early Soviet sound cinema.
Slowik, Michael James. « Hollywood film music in the early sound era, 1926-1934 ». Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3191.
Texte intégralLewis, Hannah Rose. « Negotiating the Soundtrack : Music in Early Sound Film in the U.S. and France, 1926-1934 ». Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11376.
Texte intégralMusic
Frisvold, Hanssen Eirik. « Early Discourses on Colour and Cinema : Origins, Functions, Meanings ». Doctoral thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-1261.
Texte intégralRogoff, Jana [Verfasser], Susanne [Gutachter] Frank et Natascha [Gutachter] Drubek. « Audiovisual(a)synchrony in early Soviet sound film / Jana Rogoff. Gutachter : Susanne Frank ; Natascha Drubek ». Berlin : Humboldt Universität zu Berlin, Philosophische Fakultät II, 2016. http://d-nb.info/110422979X/34.
Texte intégralRossholm, Anna Sofia. « Reproducing Languages, Translating Bodies : Approaches to Speech, Translation and Cultural Identity in Early European Sound Film ». Doctoral thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2006. http://www.diva-portal.org/su/theses/abstract.xsql?dbid=1333.
Texte intégralWillis, Corin Charles. « The signifier returns to haunt the referent : blackface and the stereotyping of African-Americans in Hollywood early sound film ». Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/55891/.
Texte intégralKang, Chang Il. « Les débuts du cinéma en Corée : entre projection et spectacle vivant ». Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080032.
Texte intégralThis research is a study of the history of cinema in Korea from the first motion pictures screenings until 1935, the year in which Koreans began making their talking films.In the first part, we study the arrival of cinema in Korea, when and by whom was the motion picture introduced in this country. Then, what films were seen by the Korean public and what effects they had on this audience. From the early times of cinema, the diverse regions of the world have tried to overcome the lack of the silent motion picture. The second part is focused on the specificity of the first silent motion pictures screenings in Korea. The Spectacle cinématographique can refer to the form of the representation of the motion pictures in the early days of cinema. The word Spectacle cinématographique implies the possibility of an additional accompaniment, especially the sound. The first films were "silent" and the way of putting sound on films had not been found yet. At that time, there was a concert or a short secondary show (clown, pitch, etc.) during, before or even after the screening of the films. We study the Spectacle cinématographique called Chosŏn Sinp'a Hwaltong Yŏnswaegŭk or Chosŏn Kino-drama which was presented since 1919 in Korea that combines the pitch, the concert, the modern western theater and the motion pictures screenings.In the third part, we report all the data concerning silent Korean films of which we still found the traces
Teichner, Noah. « Le “canned” vaudeville et la mise en conserve médiatique aux États-Unis, du phonographe au film sonore : étude média-archéologique des courts métrages Vitaphone au format son-sur-disque (1926-1930) ». Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080071.
Texte intégralThis dissertation reads the discourses, practices, and materialities of filmic and phonographic vaudeville through the broader history of “canned” media. Warner Bros.’ short films produced with the sound-on-disc Vitaphone process play a central role in this study which covers a period ranging from the beginnings of the phonograph industry and the institutionalization of vaudeville in the late 19th century to the introduction of electroacoustic technology in film and sound media during the second half of the 1920s. After studying vaudeville’s infrastructure as a mass media institution and its aesthetic capacities as a medium, the neglected role of the term “canned” in media history is reconsidered through practices of early phonography and trade press discourses on “canned” music and “canned” vaudeville. This leads to a contextualization of filmic vaudeville within the media landscape of the 1920s—the decline of big-time vaudeville and the rise of stage presentations in movie theatres—and an analysis of Vitaphone shorts’ production, distribution, and reception. The material possibilities afforded by the Vitaphone sound-on-disc technology and multi-camera set-up are then outlined and examined in relation to debates regarding sound and image scale. These technical considerations lay the groundwork for an in-depth investigation of approaches to address and diegetisation in the restored Vitaphone shorts from 1926-1930. The films’ means of addressing the spectator and of representing both the audience and the space of performance are put in perspective through examples of phonographic vaudeville dating back to the turn of the 20th century
Kang, Chang Il. « Les débuts du cinéma en Corée : entre projection et spectacle vivant ». Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080032.
Texte intégralThis research is a study of the history of cinema in Korea from the first motion pictures screenings until 1935, the year in which Koreans began making their talking films.In the first part, we study the arrival of cinema in Korea, when and by whom was the motion picture introduced in this country. Then, what films were seen by the Korean public and what effects they had on this audience. From the early times of cinema, the diverse regions of the world have tried to overcome the lack of the silent motion picture. The second part is focused on the specificity of the first silent motion pictures screenings in Korea. The Spectacle cinématographique can refer to the form of the representation of the motion pictures in the early days of cinema. The word Spectacle cinématographique implies the possibility of an additional accompaniment, especially the sound. The first films were "silent" and the way of putting sound on films had not been found yet. At that time, there was a concert or a short secondary show (clown, pitch, etc.) during, before or even after the screening of the films. We study the Spectacle cinématographique called Chosŏn Sinp'a Hwaltong Yŏnswaegŭk or Chosŏn Kino-drama which was presented since 1919 in Korea that combines the pitch, the concert, the modern western theater and the motion pictures screenings.In the third part, we report all the data concerning silent Korean films of which we still found the traces
Livres sur le sujet "Early sound film"
Wiegand, Daniel. Aesthetics of Early Sound Film. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland : Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463727372.
Texte intégral1941-, Abel Richard, Altman Rick 1945- et Domitor Conference (5th : 1998 : Library of Congress), dir. The Sounds of early cinema. Bloomington, IN : Indiana University Press, 2001.
Trouver le texte intégralBarham, Jeremy. The Routledge Companion to Global Film Music in the Early Sound Era. New York : Routledge, 2023. http://dx.doi.org/10.4324/9780429504471.
Texte intégralRossholm, Anna Sofia. Reproducing languages, translating bodies : Approaches to speech, translation and cultural identity in early European sound film. Stockholm : Almqvist & Wiksell, 2006.
Trouver le texte intégralWagner, A. F. Recollections of Thomas A. Edison : A personal history of the early days of the phonograph, the silent and sound film and film censorship. [London] : City of London Phonograph & Gramophone Society in association with Symposium Records, 1991.
Trouver le texte intégralMukherjee, Madhuja. Aural films, oral cultures : Essays on cinema : from the early sound era. Kolkata : Jadvapur University Press, 2012.
Trouver le texte intégralHenry, Jenkins. What made pistachio nuts ? : Early sound comedy and the vaudeville aesthetic. New York : Columbia University Press, 1992.
Trouver le texte intégralJenkins, Henry. What made pistachio nuts ? : Early sound comedy and the vaudeville aesthetic. New York : Columbia University Press, 1992.
Trouver le texte intégralLibrary of Congress. Motion Picture, Broadcasting, and Recorded Sound Division. Early motion pictures : The paper print collection in the Library of Congress. Washington : Motion Picture, Broadcasting, and Recorded Sound Division, Library of Congress, 1985.
Trouver le texte intégralBuhler, James. Early Theories of the Sound Film. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199371075.003.0002.
Texte intégralChapitres de livres sur le sujet "Early sound film"
Hicks, Jeremy. « Lost in Translation ? Early Soviet Sound Film Abroad ». Dans Russia and its Other(s) on Film, 113–29. London : Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230582781_7.
Texte intégralNissen, Annie. « Literary Writers and Early Sound Film : Experimental Writing ». Dans Palgrave Studies in Adaptation and Visual Culture, 201–42. Cham : Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-46822-3_6.
Texte intégralLópez, Ana M. « When 'Early' Sound Cinema was 'Late' ». Dans The Routledge Companion to Global Film Music in the Early Sound Era, 696–711. New York : Routledge, 2023. http://dx.doi.org/10.4324/9780429504471-51.
Texte intégralRiva, Lucía Rodríguez. « Film and Tango ». Dans The Routledge Companion to Global Film Music in the Early Sound Era, 614–22. New York : Routledge, 2023. http://dx.doi.org/10.4324/9780429504471-45.
Texte intégralPoulakis, Nick. « Intercultural Synergies in Early Mediterranean Sound Cinema ». Dans The Routledge Companion to Global Film Music in the Early Sound Era, 361–76. New York : Routledge, 2023. http://dx.doi.org/10.4324/9780429504471-27.
Texte intégralZhang, Ling. « Mental Hearing of Sound ». Dans The Routledge Companion to Global Film Music in the Early Sound Era, 517–29. New York : Routledge, 2023. http://dx.doi.org/10.4324/9780429504471-37.
Texte intégralPartovi, Pedram. « The Indian Origins of the Iranian Sound Film ». Dans The Routledge Companion to Global Film Music in the Early Sound Era, 448–58. New York : Routledge, 2023. http://dx.doi.org/10.4324/9780429504471-34.
Texte intégralKaganovsky, Lilya. « The Sound of Socialist Realism ». Dans The Routledge Companion to Global Film Music in the Early Sound Era, 715–33. New York : Routledge, 2023. http://dx.doi.org/10.4324/9780429504471-53.
Texte intégralLópez, Ana M. « Film and radio intermedialities in early Latin American sound cinema ». Dans The Routledge Companion to Latin American Cinema, 316–28. New York : Routledge, 2017. : Routledge, 2017. http://dx.doi.org/10.4324/9781315720449-22.
Texte intégralDassanowsky, Robert. « THE METAMUSICAL QUALITIES OF THE VIENNESE FILM, CINE-OPERETTA, AND THE MUSIC FILM IN AUSTRIAN SOUND FILM OF THE 1930s ». Dans The Routledge Companion to Global Film Music in the Early Sound Era, 295–305. New York : Routledge, 2023. http://dx.doi.org/10.4324/9780429504471-22.
Texte intégralActes de conférences sur le sujet "Early sound film"
Lemm, Thomas C. « DuPont : Safety Management in a Re-Engineered Corporate Culture ». Dans ASME 1996 Citrus Engineering Conference. American Society of Mechanical Engineers, 1996. http://dx.doi.org/10.1115/cec1996-4202.
Texte intégral