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Silent films were, of course, never silent at all. However, the sound that used to accompany the screen picture in the early days of cinema has been neglected as an area of study. Altman explores the various musical, narrative, and even synchronized sound systems that enriched cinema before Jolson spoke.
Holman covers the broad field of sound accompanying pictures, from the basics through recording, editing and mixing for theatrical films, documentaries and television shows. In each area, theory is followed by practical sections.
Following his two classics, Ask the Fellows Who Cut the Hay and The Horse in the Furrow, renowned oral historian George Ewart Evans continues his study of the vanishing customs, working habits and rich language of the farming communities of East Anglia with The Pattern Under the Plough (Faber, 1966). Although based on East Anglia, this book was and remains of wider interest, for - as the author pointed out at the time - similar changes were occurring in North America, and also happening with remarkable speed in Africa. In chronicling the old culture George Ewart Evans has taken its two chief aspects, the home and the farm. He describes the house with its fascinating constructional details, the magic invoked for its protection, the mystique of the hearth, the link of the bees with the people of the house, and some of their fears and pre-occupations. Among the chapters on the farm is one of Evans's most original pieces of research: the description of the secret horse societies. Beautifully illustrated by David Gentleman, this book is important not only for the material it reveals about the past but for the implications for present-day society. 'As real (and as valuable) as the evidence unearthed by the spadework of archaeology.' Observer
Over 39 chapters The Routledge Companion to British Cinema History offers a comprehensive and revisionist overview of British cinema as, on the one hand, a commercial entertainment industry and, on the other, a series of institutions centred on economics, funding and relations to government. Whereas most histories of British cinema focus on directors, stars, genres and themes, this Companion explores the forces enabling and constraining the films’ production, distribution, exhibition, and reception contexts from the late nineteenth century to the present day. The contributors provide a wealth of empirical and archive-based scholarship that draws on insider perspectives of key film institutions and illuminates aspects of British film culture that have been neglected or marginalized, such as the watch committee system, the Eady Levy, the rise of the multiplex and film festivals. It also places emphasis on areas where scholarship has either been especially productive and influential, such as in early and silent cinema, or promoted new approaches, such as audience and memory studies.
From acclaimed author Scott Eyman comes the fascinating story of how the transition from silent films to ‘talkies’ transformed Hollywood. It was the end of an era. It was a turbulent, colorful, and altogether remarkable period, four short years in which America’s most popular industry reinvented itself. Here is the epic story of the transition from silent films to talkies, that moment when movies were totally transformed and the American public cemented its love affair with Hollywood. As Scott Eyman demonstrates in his fascinating account of this exciting era, it was a time when fortunes, careers, and lives were made and lost, when the American film industry came fully into its own. In this mixture of cultural and social history that is both scholarly and vastly entertaining, Eyman dispels the myths and gives us the missing chapter in the history of Hollywood, the ribbon of dreams by which America conquered the world.
A groundbreaking look at the transition to sound in the French Cinema.
This rich collection of articles and essays by film historians, translation scholars, archivists, and curators presents film translation history as an exciting and timely area of research. It builds on the last twenty years of research into the history of dubbing and subtitling, but goes further, by showing how subtitling, dubbing, and other forms of audiovisual translation developed over the first fifty years of the twentieth century. This is the first book-length study, in any language, of the international history of audiovisual translation which includes silent cinema. Its scope covers national contexts both within Europe and beyond. It shows how audiovisual translation practices were closely tied to their commercial, technological and industrial contexts. The Translation of Films, 1900-1950 draws extensively on archival sources and expertise. In doing so it revisits and challenges some of the established narratives around film languages and the coming of sound. For instance, the volume shows how silent films, far from being straightforward to translate, went through a complex process of editing for international distribution. It also closely tracks the ferment of experiments in film translation during the transition to sound from 1927 to 1934 and later, as markets adjusted to the demands of synchronised film. The Translation of Films, 1900-1950 argues for a broader understanding of film translation: far from being limited to language transfer, it encompasses editing, localisation, censorship, paratextual framing, and other factors. It advocates for film translation to be considered as a crucial contribution not only to the worldwide circulation of films, but also to the art of cinema.
British Horror Cinema investigates a wealth of horror filmmaking in Britain, from early chillers like The Ghoul and Dark Eyes of London to acknowledged classics such as Peeping Tom and The Wicker Man. Contributors explore the contexts in which British horror films have been censored and classified, judged by their critics and consumed by their fans. Uncovering neglected modern classics like Deathline, and addressing issues such as the representation of family and women, they consider the Britishness of British horror and examine sub-genres such as the psycho-thriller and witchcraftmovies, the work of the Amicus studio, and key filmmakers including Peter Walker. Chapters include: the 'Psycho Thriller' the British censors and horror cinema femininity and horror film fandom witchcraft and the occult in British horror Horrific films and 1930s British Cinema Peter Walker and Gothic revisionism. Also featuring a comprehensive filmography and interviews with key directors Clive Barker and Doug Bradley, this is one resource film studies students should not be without.
Some films are remembered long after they are released; others are soon forgotten, but do they deserve oblivion? Are factors other than quality involved? This book exhumes some of the films released in Britain over the last seventy years from Daybreak (1948) to 16 Years of Alcohol (2003), and considers the reasons for their neglect. As well as exploring the contributions of those involved in making the films, the book examines such issues as marketing and the response of critics and audiences. Films are grouped loosely into categories such as “B” films and television films. Some works were little seen when they were first released and have stayed that way; others were popular in their day, but have slipped into obscurity. In some cases, social change has overtaken them, making the attitudes or subjects they depict seem dated. Even being released as a DVD does not guarantee that a title will be rehabilitated. In addition, how significant is the American market? This book should appeal to lovers of British film, as well as to film studies students and everybody curious about the vagaries of success and failure in the arts.