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The Resource Silent film sound, Rick Altman

Silent film sound, Rick Altman

Label
Silent film sound
Title
Silent film sound
Statement of responsibility
Rick Altman
Creator
Subject
Genre
Language
eng
Summary
Overview: Because silent cinema is widely perceived as having been exactly that-silent-no one has fully examined how sounds was used to accompany the films of this era. Silent Film Sound reconsiders all aspects of sound practices during the entire silent film period. Based on extensive original research and accompanied by gorgeous illustrations, the book challenges the assumptions of earlier histories of this period in film and reveals the complexity and swiftly changing nature of American silent cinema. Contrary to received opinion, silent films were not always accompanied, nor were accompaniments uniform. Beginning with sound practices before cinema's first decade and continuing through to the more familiar sound practices of the 1920s, Rick Altman discusses the variety of sound strategies and the way early cinema exhibitors used these strategies to differentiate their products. During the nickelodeon period prior to 1910, this variety reached its zenith, with theaters often deploying half a dozen competing sound strategies-from carnival-like music in the street, automatic pianos at the rear of the theater, and small orchestras in the pit to lecturers, synchronized sound systems, and voices behind the screen. During this period, musical accompaniment had not yet begun to support the story and its emotions as it would in later years. But in the 1910s, film sound acquiesced to the demands of the burgeoning cinema industry, who successfully argued that accompaniment should enhance film's narrative and emotional content rather than score points by burlesquing or "kidding" the film. The large theaters and blockbuster productions of the mid-1910s provided a perfect crucible for new instruments, new music publication projects, and the development of a new style of film music. From that moment on, film music would become an integral part of the film rather than its adversary, and a new style of cinema sound would favor accompaniment that worked in concert with cinema story-telling. For the first time, Silent Film Sound details the ways in which these diverse interests and industries came together to produce an extraordinarily successful audiovisual art
Member of
Cataloging source
DLC
http://library.link/vocab/creatorDate
1945-
http://library.link/vocab/creatorName
Altman, Rick
Dewey number
791.4302/4
Illustrations
illustrations
Index
index present
LC call number
PN1995.75
LC item number
.A46 2004
Literary form
non fiction
Nature of contents
bibliography
Series statement
Film and culture
http://library.link/vocab/subjectName
  • Silent films
  • Motion pictures
  • Motion picture music
  • Narration for silent films
Label
Silent film sound, Rick Altman
Instantiates
Publication
Bibliography note
Includes bibliographical references (pages 433-443) and index
Carrier category
volume
Carrier category code
  • nc
Carrier MARC source
rdacarrier
Content category
text
Content type code
  • txt
Content type MARC source
rdacontent
Contents
Acknowledgments -- Part 1: Methodology -- History of silent film sound -- Past attempts to write the history of silent film sound -- Assumptions and limitations of the current project -- Crisis historiography -- New kind of history -- Anatomy of an identity crisis -- Part 2: Late-Nineteenth-Century Soundscape -- Musical scene -- Late-nineteenth-century musicians -- Stage music -- Bandwagon -- Lecture logic -- John L Stoddard -- E Burton Homes -- Part 3: Early Film Sound -- From peep show to projection -- Kinetophone -- Projected images -- Discontinuities -- Vaudeville -- Moving pictures in Vaudeville -- Vaudeville sound -- Films for music -- Part 4: Nickelodeon Sound -- Crisis of the late Aughts -- Competition -- Ballyhoo -- Lectures, sound effects, and the itinerant exhibition model -- From platform circuit to film lecture -- Lyman Howe, Leroy Carleton, and film sound effects -- Films that talk -- Synchronized sound -- Voices behind the screen -- Last words -- Nickelodeon program -- Illustrated songs -- Silence -- Nickelodeon music -- Traditional accounts of nickelodeon music -- Musical effects -- Popular songs and verbal matching -- Part 5: Campaign To Standardize Sound -- Trade press discourse -- Canary effect -- Musical standards -- Music for films -- Early film scores -- First published collections of music for films -- Musical suggestions -- Training musicians, training audiences -- Live demonstrations -- Four modes of theatrical organization -- Silencing the film audience -- Part 6: Golden Era Of Silent Film Music -- Moving picture orchestras come of age -- Blockbusters and picture palaces -- Motion picture orchestra -- Evolving musical repertory -- New roles for keyboard instruments -- Automatic pianos and one-man orchestras -- Cinema organ -- Cue sheets and photoplay music -- Cue sheets -- Photoplay music -- Musical practices -- Standard procedures -- Themes and leitmotifs -- Full program -- Conclusion -- Abbreviations -- Notes -- Bibliography -- Sources for illustrations -- Index
Control code
54670072
Dimensions
27 cm
Extent
x, 462 pages
Isbn
9780231116626
Isbn Type
(cloth : alk. paper)
Lccn
2004045529
Media category
unmediated
Media MARC source
rdamedia
Media type code
  • n
Other physical details
illustrations
Label
Silent film sound, Rick Altman
Publication
Bibliography note
Includes bibliographical references (pages 433-443) and index
Carrier category
volume
Carrier category code
  • nc
Carrier MARC source
rdacarrier
Content category
text
Content type code
  • txt
Content type MARC source
rdacontent
Contents
Acknowledgments -- Part 1: Methodology -- History of silent film sound -- Past attempts to write the history of silent film sound -- Assumptions and limitations of the current project -- Crisis historiography -- New kind of history -- Anatomy of an identity crisis -- Part 2: Late-Nineteenth-Century Soundscape -- Musical scene -- Late-nineteenth-century musicians -- Stage music -- Bandwagon -- Lecture logic -- John L Stoddard -- E Burton Homes -- Part 3: Early Film Sound -- From peep show to projection -- Kinetophone -- Projected images -- Discontinuities -- Vaudeville -- Moving pictures in Vaudeville -- Vaudeville sound -- Films for music -- Part 4: Nickelodeon Sound -- Crisis of the late Aughts -- Competition -- Ballyhoo -- Lectures, sound effects, and the itinerant exhibition model -- From platform circuit to film lecture -- Lyman Howe, Leroy Carleton, and film sound effects -- Films that talk -- Synchronized sound -- Voices behind the screen -- Last words -- Nickelodeon program -- Illustrated songs -- Silence -- Nickelodeon music -- Traditional accounts of nickelodeon music -- Musical effects -- Popular songs and verbal matching -- Part 5: Campaign To Standardize Sound -- Trade press discourse -- Canary effect -- Musical standards -- Music for films -- Early film scores -- First published collections of music for films -- Musical suggestions -- Training musicians, training audiences -- Live demonstrations -- Four modes of theatrical organization -- Silencing the film audience -- Part 6: Golden Era Of Silent Film Music -- Moving picture orchestras come of age -- Blockbusters and picture palaces -- Motion picture orchestra -- Evolving musical repertory -- New roles for keyboard instruments -- Automatic pianos and one-man orchestras -- Cinema organ -- Cue sheets and photoplay music -- Cue sheets -- Photoplay music -- Musical practices -- Standard procedures -- Themes and leitmotifs -- Full program -- Conclusion -- Abbreviations -- Notes -- Bibliography -- Sources for illustrations -- Index
Control code
54670072
Dimensions
27 cm
Extent
x, 462 pages
Isbn
9780231116626
Isbn Type
(cloth : alk. paper)
Lccn
2004045529
Media category
unmediated
Media MARC source
rdamedia
Media type code
  • n
Other physical details
illustrations

Library Locations

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      1020 Lowry Street, Columbia, MO, 65201, US
      38.944491 -92.326012
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