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Information retrieval --- Information systems --- 002:62 --- 681.3*H3 --- 659.148 --- CD-ROM industry --- -Market surveys --- -Retail trading areas --- Advertising --- Consumption (Economics) --- Economic surveys --- Marketing research --- Advertising campaigns --- Consumer behavior --- Public opinion polls --- Compact disc industry --- Informatietechnologie --- Information storage and retrieval. Cd-rom --- Combined optical and acoustic media. Audio-visual publicity. Advertising and publicity using sound film and television --- Surveys --- -Informatietechnologie --- 659.148 Combined optical and acoustic media. Audio-visual publicity. Advertising and publicity using sound film and television --- 681.3*H3 Information storage and retrieval. Cd-rom --- 002:62 Informatietechnologie --- -659.148 Combined optical and acoustic media. Audio-visual publicity. Advertising and publicity using sound film and television --- Retail trading areas --- Market surveys

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In 1931 Universal Pictures released Dracula and Frankenstein, two films that inaugurated the horror genre in Hollywood cinema. These films appeared directly on the heels of Hollywood's transition to sound film. Uncanny Bodies argues that the coming of sound inspired more in these massively influential horror movies than screams, creaking doors, and howling wolves. A close examination of the historical reception of films of the transition period reveals that sound films could seem to their earliest viewers unreal and ghostly. By comparing this audience impression to the first sound horror films, Robert Spadoni makes a case for understanding film viewing as a force that can powerfully shape both the minutest aspects of individual films and the broadest sweep of film production trends, and for seeing aftereffects of the temporary weirdness of sound film deeply etched in the basic character of one of our most enduring film genres.

Horror films --- Sound motion pictures --- Films d'horreur --- Films sonores --- History and criticism. --- Histoire et critique --- 82:791.43 --- Literatuur en film --- Horror films - United States - History and criticism. --- Horror films. --- Sound motion pictures - History and criticism. --- Film --- Music, Dance, Drama & Film --- History and criticism --- 82:791.43 Literatuur en film --- Moving-pictures, Talking --- Talkies --- Talking motion pictures --- Motion pictures --- 20th century american culture. --- 20th century american film history. --- american culture. --- american film history. --- american movie history. --- audience reception. --- cinema. --- classic horror cinema. --- dark. --- dracula. --- early sound film. --- film studies. --- filmmaking. --- frankenstein. --- hollywood cinema. --- horror genre. --- horror movies. --- intense. --- modality. --- movie studies. --- sound film. --- svengali. --- the hollywood review of 1929. --- uncanny theater. --- united states of america. --- universal pictures. --- vampires. --- ventriloquism.

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This entertaining and innovative book focuses on vocal performance styles that developed in tandem with the sound technologies of the phonograph, radio, and sound film. Writing in a clear and lively style, Jacob Smith looks at these media technologies and industries through the lens of performance, bringing to light a fascinating nexus of performer, technology, and audience. Combining theories of film sound, cultural histories of sound technologies and industries, and theories of performance, Smith convincingly connects disparate and largely neglected performance niches to explore the development of a modern vocal performance. Vocal Tracks: Performance and Sound Media demonstrates the voice to be a vehicle of performance, identity, and culture and illustrates both the interconnection of all these categories and their relation to the media technologies of the past century.

Voice culture. --- Voice. --- Voice --- Voice culture --- 82:78 --- Singing and voice culture --- Vocal culture --- Voice training --- Elocution --- Oratory --- Speech --- Speaking --- Human sounds --- Language and languages --- Music --- Throat --- Diaphragm --- Larynx --- Literatuur en muziek --- Physiological aspects --- cinema. --- cultural history of sound. --- cultural studies. --- entertainment industry. --- erotic performance. --- film and television. --- film sound. --- film studies. --- media studies. --- media technology. --- melodrama. --- movie studies. --- multimedia. --- musicians. --- performance of authenticity. --- phonograph. --- phony performances. --- prank phone calls. --- radio studies. --- radio. --- recorded laughter. --- records. --- rough mix. --- sound film. --- sound industries. --- sound recordings. --- sound technologies. --- sound. --- theory of performance. --- vocal performance. --- vocal recordings. --- vocal styles. --- voice.

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The 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 pictures. --- Motion picture music. --- Dialogue in motion pictures. --- Motion pictures --- Rhythm. --- Son au cinéma --- Film, Musique de --- Dialogue au cinéma --- Cinéma --- Rythme --- Production and direction. --- Production et réalisation --- PERFORMING ARTS --- Reference. --- Film & Video --- General. --- Music --- Film --- Performing arts --- Film & video --- Son au cinéma --- Dialogue au cinéma --- Cinéma --- Production et réalisation --- Aesthetics --- Movement, Psychology of --- Poetics --- Cycles --- Movement, Aesthetics of --- Direction of motion pictures --- Film-making (Motion pictures) --- Filmmaking (Motion pictures) --- Motion picture direction --- Motion picture plays --- Motion picture production --- Movie-making --- Moviemaking --- Production of motion pictures --- Film dialogue --- Movie dialogue --- Background music for motion pictures --- Film music --- Film scores --- Movie music --- Moving-picture music --- Dramatic music --- Production and direction --- Direction --- animated 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.