Film Rhythm after Sound

Regular price €38.99
Regular price €39.99 Sale Sale price €38.99
A01=Lea Jacobs
Age Group_Uncategorized
Age Group_Uncategorized
animated films
animation
Author_Lea Jacobs
automatic-update
case studies
Category1=Non-Fiction
Category=APFX
Category=ATFX
COP=United States
Delivery_Pre-order
dialogue
disneys silly symphonies
eisenstein-prokofiev collaboration
eq_art-fashion-photography
eq_isMigrated=2
eq_non-fiction
film
film and television
film editing
film history
film music
film rhythm
film studies
filmmaking
first talkies
ivan the terrible
Language_English
mickey mouse cartoons
movement in film
movies
music track
musicals
PA=Temporarily unavailable
pacing
performance and sound
Price_€20 to €50
PS=Active
rhythm
softlaunch
sound
sound film practices
sound in film
sound studies
sound technologies
synchronized sound
technology
tempo

Product details

  • ISBN 9780520279650
  • Weight: 318g
  • Dimensions: 152 x 229mm
  • Publication Date: 18 Dec 2014
  • Publisher: University of California Press
  • Publication City/Country: US
  • Product Form: Paperback
  • Language: English
Delivery/Collection within 10-20 working days

Our Delivery Time Frames Explained
2-4 Working Days: Available in-stock

10-20 Working Days
: On Backorder

Will Deliver When Available
: On Pre-Order or Reprinting

We ship your order once all items have arrived at our warehouse and are processed. Need those 2-4 day shipping items sooner? Just place a separate order for them!

The seemingly effortless integration of sound, movement, and editing in films of the late 1930s stands in vivid contrast to the awkwardness of the first talkies. Film Rhythm after Sound analyzes this evolution via close examination of important prototypes of early sound filmmaking, as well as contemporary discussions of rhythm, tempo, and pacing. Jacobs looks at the rhythmic dimensions of performance and sound in a diverse set of case studies: the Eisenstein-Prokofiev collaboration Ivan the Terrible, Disney's Silly Symphonies and early Mickey Mouse cartoons, musicals by Lubitsch and Mamoulian, and the impeccably timed dialogue in Hawks' films. Jacobs argues that the new range of sound technologies made possible a much tighter synchronization of music, speech, and movement than had been the norm with the live accompaniment of silent films. Filmmakers in the early years of the transition to sound experimented with different technical means of achieving synchronization and employed a variety of formal strategies for creating rhythmically unified scenes and sequences. Music often served as a blueprint for rhythm and pacing, as was the case in mickey mousing, the close integration of music and movement in animation. However, by the mid-1930s, filmmakers had also gained enough control over dialogue recording and editing to utilize dialogue to pace scenes independently of the music track. Jacobs' highly original study of early sound-film practices provides significant new contributions to the fields of film music and sound studies.
Lea Jacobs is Professor of Film at the University of Wisconsin--Madison and author of The Decline of Sentiment: American Film in the 1920s.