LEADER 03957nam 2200709 450 001 9910466877703321 005 20200520144314.0 010 $a0-520-27965-4 010 $a0-520-96001-7 024 7 $a10.1525/9780520960015 035 $a(CKB)3800000000006959 035 $a(EBL)1732136 035 $a(OCoLC)895162109 035 $a(SSID)ssj0001367962 035 $a(PQKBManifestationID)12597571 035 $a(PQKBTitleCode)TC0001367962 035 $a(PQKBWorkID)11447565 035 $a(PQKB)10901226 035 $a(MiAaPQ)EBC1732136 035 $a(DE-B1597)520183 035 $a(OCoLC)1102798643 035 $a(DE-B1597)9780520960015 035 $a(Au-PeEL)EBL1732136 035 $a(CaPaEBR)ebr10984106 035 $a(CaONFJC)MIL661023 035 $a(EXLCZ)993800000000006959 100 $a20141124h20152015 uy 0 101 0 $aeng 135 $aur||#|||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aFilm rhythm after sound $etechnology, music, and performance /$fLea Jacobs 210 1$aOakland, California :$cUniversity of California Press,$d2015. 210 4$dİ2015 215 $a1 online resource (281 p.) 300 $aDescription based upon print version of record. 311 $a1-322-29741-X 311 $a0-520-27964-6 320 $aIncludes bibliographical references, filmography and index. 327 $tFront matter --$tOnline Film Clips --$tAcknowledgments --$tContents --$t1. Introduction --$t2. A Lesson with Eisenstein --$t3. Mickey Mousing Reconsidered --$t4. Lubitsch and Mamoulian --$t5. Dialogue Timing and Performance in Hawks --$t6. Afterword --$tNotes --$tBibliography --$tFilmography --$tIndex 330 $aThe 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. 606 $aSound in motion pictures 606 $aMotion picture music 606 $aDialogue in motion pictures 606 $aMotion pictures$xProduction and direction 606 $aRhythm 608 $aElectronic books. 615 0$aSound in motion pictures. 615 0$aMotion picture music. 615 0$aDialogue in motion pictures. 615 0$aMotion pictures$xProduction and direction. 615 0$aRhythm. 676 $a791.43/6578 700 $aJacobs$b Lea$0165930 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910466877703321 996 $aFilm rhythm after sound$92487559 997 $aUNINA