04947nam 2201093 450 991081040870332120200520144314.00-520-27965-40-520-96001-710.1525/9780520960015(CKB)3800000000006959(EBL)1732136(OCoLC)895162109(SSID)ssj0001367962(PQKBManifestationID)12597571(PQKBTitleCode)TC0001367962(PQKBWorkID)11447565(PQKB)10901226(DE-B1597)520183(OCoLC)1102798643(DE-B1597)9780520960015(Au-PeEL)EBL1732136(CaPaEBR)ebr10984106(CaONFJC)MIL661023(MiAaPQ)EBC1732136(EXLCZ)99380000000000695920141124h20152015 uy 0engur||#||||||||txtccrFilm rhythm after sound technology, music, and performance /Lea JacobsOakland, California :University of California Press,2015.©20151 online resource (281 p.)Description based upon print version of record.1-322-29741-X 0-520-27964-6 Includes bibliographical references, filmography and index.Front matter --Online Film Clips --Acknowledgments --Contents --1. Introduction --2. A Lesson with Eisenstein --3. Mickey Mousing Reconsidered --4. Lubitsch and Mamoulian --5. Dialogue Timing and Performance in Hawks --6. Afterword --Notes --Bibliography --Filmography --IndexThe seemingly effortless integration of sound, movement, and editing in films of the late 1930's 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's 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's highly original study of early sound-film practices provides significant new contributions to the fields of film music and sound studies.Sound in motion picturesMotion picture musicDialogue in motion picturesMotion picturesProduction and directionRhythmanimated films.animation.case studies.dialogue.disneys silly symphonies.eisenstein-prokofiev collaboration.film and television.film editing.film history.film music.film rhythm.film studies.film.filmmaking.first talkies.ivan the terrible.mickey mouse cartoons.movement in film.movies.music track.musicals.pacing.performance and sound.rhythm.sound film practices.sound in film.sound studies.sound technologies.sound.synchronized sound.technology.tempo.Sound in motion pictures.Motion picture music.Dialogue in motion pictures.Motion picturesProduction and direction.Rhythm.791.43/6578LR 53509rvkJacobs Lea165930MiAaPQMiAaPQMiAaPQBOOK9910810408703321Film rhythm after sound3919630UNINA