[11] December 5 — Sound film and new sonic environments
Section outline
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Assigned reading:
S. M. Eisenstein, V. I. Pudovkin, and G. M. Aleksandrov, “The sound film: A statement from the U.S.S.R.,” Close Up 3 (1928), reprinted in Close Up 1927–1923: Cinema and Modernism, eds. J. Donald et al. (1998), 83–84. (Russian)
Silent versus sound film in Ilf and Petrov's The Little Golden Calf (1931). (Russian)
Lilya Kaganovsky, "Introduction: The long transition: Soviet cinema and the coming of sound," The Voice of Technology: Soviet Cinema’s Transition to Sound, 1928-1935 (2018). [via JSTOR]
Hungarian options: Béla Balázs, "Movietone, a beszélő film," Korunk 3 no. 9 (1928): 646-647.
Sándor Székely, "Felfordult világ," Magyar Rádió Újság 6 (1929): 23-25.
Russian option: L. V. Kuleshov, "Принципы звукового монтажа," in Практика кинорежиссуры (1935), 22-32.
Czech option: Franta Kocourek, "Nástup zvukového filmu," Přitomnost (27 June 1929): 391-393.
Further reading:
Emily Thompson, “Dead Rooms and Live Wires: Harvard, Hollywood, and the Deconstruction of Architectural Acoustics, 1900-1930,” Isis 88, no. 4 (1997): 597–626.
Allison Whitney, “Cultivating Sonic Literacy in the Humanities Classroom,” Music, Sound, and the Moving Image 2, no. 2 (2008): 145–48.
Mark Kerins, “A Statement on Sound Studies: (With Apologies to Sergei Eisenstein, Vsevolod Pudovkin, and Grigori Alexandrov),” Music, Sound, and the Moving Image 2, no. 2 (2008): 115–19.
Tim Boon, “The Cinematic Sound of Industrial Modernity:: First Notes,” in Being Modern, ed. Robert Bud et al., The Cultural Impact of Science in the Early Twentieth Century (UCL Press, 2018), 40–57.
See the section on Avraamov's film-sound research at Monoskop.
Andrey Smirnov on graphical sound. -