The arrival of the first film sound systems in Spain (1895 - 1929) (original) (raw)
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The Forms of the Game in Silent Films, the Discovery of Sound Technology
2019
The soundless films of the first generation of world'S cinematography, which left an indelible mark and survived to this day, precisely because it was an undisputed artistic value. The universal themes selected and handled by Artists of that time will find a special focus on my work, the playfulness of the act of that time, the possibilities of recording in the celluloid and the appearance of obstacles with the mechanical projectors. The discovery of that period, that is recording the tone, the difficulties, the problems and the main challenges in acting in front of the film camera, such an invention would certainly give another direction to the artistic film, contribute to its development but at the same time exhibited barricades of banal nature, in the simple sense would turn the role-play to the zero point, precisely in the moments of its advancement towards the extreme naturalness, would bump into the theater actors with those of the sketches or the noiseless films that had ...
The New Soundtrack, "The theory of Practice" edited by Philippa Lovatt, Nessa Johnston, , 2017
Most of the recent theoretical contributions in film and media studies claim an adequate consideration of sound reproduction in its material features. With the aim of underlining how two distinct conceptions of materiality (concerning the physical composition of reproduced sound itself on the one hand and a material approach to the media for sound recording and sound reproduction on the other) might be mutually intervolved, the first part of the article will point out some significant intersections between the theoretical accounts on mediated sound offered by Rick Altman, Tom Levin and Wolfgang Ernst. Those notions will be subsequently applied to the historical context of the conversion to sound in Italian cinema: in doing so, we will first outline the way in which film theorists rejected both the sonic and technological ‘materialisation’ of the film-medium and how, by contrast, practitioners dealt with the technological novelties as concrete problems to solve; secondly, by focusing on the film-making practices and the film-editing and projecting techniques we will re-formulate to the notion of noise with the double meaning of ‘obtrusive materiality’ and ‘technological materiality’, depending on the different context. In order to verify how new theoretical accounts can serve as epistemological frameworks for our investigation on historical film practices, the essay will discuss the way in which the materiality of mediated sound (as an aural phenomenon to be recorded and a technological inscription to be reproduced) changed the habits and challenged the skills of the workers involved in a film-making process.
En: François de la Bretèque (ed). “les Cinemas Peripheriques dans la Periode des Premiers Temps/Peripheral Early Cinema” . Perpignan, 17-22 Junio de 2008. Perpignan: Presses Universitaires de Perpignan , 2010. Pp. 347-358., 2010
Las formas fílmicas y las prácticas cinematográficas del llamado “cine primitivo” están marcadas —desde su origen como un ámbito académico (Congreso de Brigthon, 1978)— por su estudio y análisis como parte del proceso de institucionalización de un nuevo campo cultural. Ahora bien, dos décadas después de aquella histórica fecha no hemos sido capaces de unir en un solo relato las dos grandes tramas que conforman la transformación de los cines primitivos en el sistema institucional del cine. Nos falta así un modelo que unifique la doble perspectiva que se aplica generalmente a la invención y definición de los media: el análisis historiográfico del «surgimiento tecnológico de la novedad y el estudio sociológico de la «construcción social del medio». Este problema epistemológico es explorado en este trabajo a través del análisis de un caso excéntrico: la percepción cultural del cinema en Madrid, entre 1903 y 1913, a partir de la disparidad, en la prensa de la época, entre el artefacto y la maravilla del «cinematógrafo» y el local y el espectáculo del «ciné».
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Exposing the Film Apparatus: The Film Archive as a Research Laboratory, 2016
Imagine opening the gates to a vault full of media apparatuses and letting loose thirty-two international media scholars and professionals on its heterogeneous content... Exposing the Film Apparatus collects the results of such an experiment. This book addresses the keen awareness of the prominence of media technologies in our culture in the last two centuries, while also showing how such an awareness is impacting the curatorial consciousness of those working in film archives, technology, and media museums today. Combining a variety of approaches with insightful perspectives of professionals working on a wide range of film technology-related issues, Exposing the Film Apparatus reveals the richness, diversity, and relevance of the topic for archivists, curators, projectionists, theorists, film and media historians, media artists, educationists and film students today. If dreams come true! The long desired collaboration between film archivists and film scholars has never been as fully realized as in this work, which is, itself, a genuine "research laboratory." Adopting an approach that constantly combines fundamental and applied research, the "materiality of the medium" is studied here in an entirely novel way. Starting with the digital turn, the essential problems of technique and technology have (finally!) returned to academic zeitgeist. ANDRÉ GAUDREAULT CANADA RESEARCH CHAIR IN CINEMA AND MEDIA STUDIES, UNIVERSITÉ DE MONTRÉAL This excellent collection fizzes with new approaches to understanding the apparatuses of cinema. These machines once gave life to images; now it must be our mission to give life back to these machines.
The Sounds of Silent Films ” : an interview with
2018
Over the last few years, sound and music practices during the silent film period have received an increasing attention from the academic community, both in film studies and musicology. The emergence of interdisciplinary networks, such as “The Sounds of Early Cinema in Britain” (Brown and Davison 2013) and the “Cabiria Research Project” in Italy (Colturato 2014), have contributed to widen the frame of this field, revealing the importance of national, regional and local specificities in the construction of early cinema as an auditory experience. In the context of the thematic issue on “Music, sound and cinema”, Aniki interviewed Claus Tieber and Anna K. Windish, researchers at the University of Salzburg and editors of The Sounds of Silent Films: New Perspectives on History, Theory and Practice, the proceedings of an international conference held in 2013 at Kiel University. Tieber and Windish are, respectively, principal investigator and research assistant of the project “The Sound of ...
Silva, Manuel Denis, „The Sound of Silent Films“: Interview with Claus Tieber and Anna K. Windisch,
Over the last few years, sound and music practices during the silent film period have received an increasing attention from the academic community, both in film studies and musicology. The emergence of interdisciplinary networks, such as “The Sounds of Early Cinema in Britain” (Brown and Davison 2013) and the “Cabiria Research Project” in Italy (Colturato 2014), have contributed to widen the frame of this field, revealing the importance of national, regional and local specificities in the construction of early cinema as an auditory experience. In the context of the thematic issue on “Music, sound and cinema”, Aniki interviewed Claus Tieber and Anna K. Windisch.