Instruct: Given a question, retrieve passages that can help answer the question.
Query: When did sound in film first show up?
The primary steps in the commercialization of sound cinema were taken in the mid- to late 1920s. At first, the sound films which included synchronized dialogue, known as "talking pictures", or "talkies", were exclusively shorts. The earliest feature-length movies with recorded sound included only music and effects. The first feature film originally presented as a talkie was The Jazz Singer, released in October 1927. A major hit, it was made with Vitaphone, which was at the time the leading brand of sound-on-disc technology. Sound-on-film, however, would soon become the standard for talking pictures.
These were the years in which film studios were making a transition from silent films to sound films and this version of "Show Boat" was made as a silent film. The studio panicked when they realized that audiences might be expecting a sound version of "Show Boat" now that sound films had become so popular, and the film was temporarily withheld from release.
The premiere of "Vampyr" in Germany was delayed by UFA, as the studio wanted the American films "Dracula" and "Frankenstein" to be released first. The Berlin premiere was 6 May 1932. At this premiere, the audience booed the film which led to Dreyer cutting several scenes out of the film after the first showing. The film was distributed in France by Société Générale de Cinema who also distributed Dreyer's previous film "The Passion of Joan of Arc". The Paris premiere was in September 1932 where "Vampyr" was the opening attraction of a new cinema on the Boulevard Raspail. At a showing of the film in Vienna, audiences demanded their money back. When this was denied, a riot broke out that led to police having to restore order with night sticks. When the film premiered in Copenhagen, Denmark in March 1933, Dreyer did not show up. In the USA, the film premiered with English subtitles under the title "Not Against The Flesh"; an English-dubbed version, edited severely as to both the film continuity and the music track, appeared a few years later on the roadshow circuit as "Castle of Doom". Dreyer soon had a nervous breakdown and went to a mental hospital in France. The film was a financial failure.
To celebrate the event of King George V's visit in 1909, a grand exhibition was organized in Madras. Its major attraction was the screening of short films accompanied by sound. A British company imported a Crone megaphone, made up of a film projector to which a gramophone with a disc containing prerecorded sound was linked, and both were run in unison, producing picture and sound simultaneously. However, there was no synched dialogue. Raghupathy Venkiah Naidu, a successful photographer, took over the equipment after the exhibition and set up a tent cinema near the Madras High Court. With this equipment, he screened the short films "Pearl Fish" and "Raja's Casket" in the Victoria Public Hall. When this proved successful, he screened the films in a tent set up in Esplanade. These tent events were the true precursors of the cinema shows. Venkiah traveled with this unit to Burma (now Myanmar) and Sri Lanka, and when he had gathered enough money, he put up a permanent cinema house in Madras—Gaiety, in 1914, the first cinema house in Madras to be built by an Indian. He soon added two more, Crown Theatre in Mint and Globe (later called Roxy) in Purasawalkam.
Weber has been credited as pioneering the use of the split screen technique to show simultaneous action in her 1913 film "Suspense". In collaboration with her first husband, Phillips Smalley, in 1913 Weber was "one of the first directors to experiment with sound", making the first sound films in the United States, and was also the first American woman to direct a full-length feature film when she and Smalley directed "The Merchant of Venice" in 1914, and in 1917 the first woman director to own her own film studio.
During the 1890s, Howe attempted to acquire a kinetoscope from Thomas Edison, but was unsuccessful in doing so. In 1896, he attempted to lease a vitascope from Raff & Gammon, but was again unsuccessful. He thus created his own projector, the animotiscope with the help of an electrician. The animotiscope improved on previous motion picture projectors by incorporating a second take-up reel, allowing for the showing of longer films. Howe showed his first movie in Wilkes-Barre in December 1896. This movie was based on some of Thomas Edison's films and incorporated a phonograph for sound effects. Howe continued to show films, most of which were newsreels, local movies, and travelogues. There was a time when he used both the phonograph and his movies during his shows, but he eventually concentrated mostly on movies. He was creating his own travelogues and newsreels by 1901. He was also the first person to incorporate backstage sound effects in his movies.
Most films at the time, except for the 1935 French film "Golgotha", did not show Jesus' face, preferring to do shots of his hands (as in "Ben-Hur") or over-the-shoulder views. "King of Kings" was the first large-budget, major-studio sound film in English to actually show Christ's face. Jeffrey Hunter's youthful, matinee idol appearance (although he was 33 when cast) caused some to nickname the film "I Was a Teenage Jesus", a parodic reference to the 1957 horror film "I Was a Teenage Werewolf".
The jury released a statement that read, “Sound design is more than just putting music into a film. It involves a sound scape. Knowing when you need sound or music, when you do not need it, when it is enough is all sound design. All in service of the film. The jury regrets that they did not see this application of sound design in the nominated films”
Now we go forward to a Church meeting where an invited guest was to show film shots of his recent journey to Norway. As he begins his presentation the first film is upside down and way out of focus. He begins to speak about that film once it has been fixed to the screen when a noise is heard. It is the sound of a back-firing automobile. Our peek to outside shows this car drive up to the front door of the chapel. the driver gets out and opens the door which causes the light from outside to blur out the picture on the screen. Then the driver announces that he is looking for Alex. After walking from the back of the chapel to the front and announces his search, he finally sees Alex and asks him to come outside with him. While they are standing outside the driver asks Alex if he can really pitch like he did at the earlier game whenever or was it a fluke.
Music licensing deals cut at the time of production were for a limited number of years. Hugh Wilson commented that "WKRP" was videotaped instead of filmed because when the show was originally produced, a loophole in music licensing deals reduced fees for using songs in videotaped programs. The loophole was intended to accommodate variety shows. When the show initially went in syndication shortly after its 1982 cancellation, the original music remained intact because the licensing deals were still active at the time. Once the licenses expired, later syndicated versions of the show did not feature the music as first broadcast, but rather generic "sound-alikes" by studio musicians to avoid paying additional royalties. In some cases (when the music was playing in the background of a dialogue scene), some of the characters' lines had to be redubbed by sound-alike actors. This was evident in all prints of the show issued since the early 1990s, which included its late 1990s run on Nick at Nite.
Molly Hatchet rented a club called the Warehouse. They set the entire concert stage up in there. They cranked up, Farrar sang three songs and they hired him on the spot, playing two shows there. Jimmy Farrar's first gig with Molly Hatchet was set to be at the Tangerine Bowl in Orlando, Florida opening for Bob Seger for an audience of 65,000 people, but Danny Joe Brown arrived at the last minute and the band did the show without him, which was Brown's final show at that time with Molly Hatchet. The next show, on 9 May 1980, in front of 20,000 High School Seniors at King's Dominion Amusement Park in Virginia, Farrar's first with Molly Hatchet. Along with Jimmy Farrar came a new approach to the band's sound. The earlier albums feature more variation in guitar tone and style and exhibit a distinct southern cultural influence – which seemed to change with the addition of Farrar on vocals. By this time, acts such as Van Halen had made harder heavy metal-influenced rock popular in the 1980s, and may have led to a shift the band's sound and style. Danny Joe Brown's stage persona, gruff voice and cowboy horse-whistling had matched well with the overtly southern-influenced sounds of his era. Farrar's new vocal style, mixed with a new harder-rocking sound has been seen as the reason for Molly Hatchet's rise in popularity in the early 1980s. The first year Farrar was on tour with Molly Hatchet the band did almost 300 shows. At the end of the tour Molly Hatchet averaged 6.5 shows a week.
A main title can consist of a tune sung by the leading character over the credits, such as "Moon River", sung by Audrey Hepburn in "Breakfast at Tiffany's", or the main orchestral theme as written by the composer, such as the famous "The Pink Panther Theme". It can also be a medley of themes from the film, as in the 1959 "Ben-Hur". In the film "A Hard Day's Night", the title tune was heard over the opening credits showing The Beatles running from their fans. An overture may serve as a main title, as in "The Sound of Music". However, there is a very strong difference in a roadshow theatrical release between an overture and a main title. The overture in such films is heard on pre-recorded tape or film, "before" the film even begins, while the house lights are still up and there is yet no picture on the screen. The main title begins when the film actually starts. In the case of "The Sound of Music" though (and also "Fiddler on the Roof)", no overture was heard before the lights in the theatre went down; therefore, in these cases, the main title did serve as an overture. Both films had pre-credits opening sequences; during these, the first song from the film was sung, and immediately afterwards, the main title music followed.
Droste and Bear were subsequently joined by bass guitarist and producer Chris Taylor, and performed four shows together as a three-piece. Regarding these shows, Droste noted, "We've never played without the four of us, really. The first couple shows we did before we knew Dan [Rossen], we did with three of us and they kind of sucked. From the get-go, when we were trying to put together a live show, that's when we discovered our sound and that's why I think that was the beginning of the band."
Stefani asked DJ Jeremy Healy to create a mashup of the song and "The Lonely Goatherd", a song from the 1959 Rodgers and Hammerstein musical and 1965 film "The Sound of Music". Stefani considered "The Sound of Music" her favorite film, and she had wanted to incorporate a beat to one of its songs all her life. Stefani commented, "I literally cried, and I'm not exaggerating, when I heard the mash-up." Williams, however, did not like the addition of yodeling and "The Sound of Music" to the track. Although, Williams later admitted on "The Late Late Show with James Corden" (coincidentally also appearing with Stefani) that he "came around" because "the magic in it was kinda like her being lit up about it" and "it's her song."
Created by Kodak and ORC (Optical Radiation Corporation), Cinema Digital Sound was the first attempt to bring multi-channel digital sound to first-run theaters. CDS was available on both 35 mm and 70 mm films. Film prints equipped with CDS did not have the conventional analog optical or magnetic soundtracks to serve as a back-up in case the digital sound was unreadable. Another disadvantage of not having an analog back-up track is that CDS required extra film prints be made for the theaters equipped to play CDS. The three formats that followed, Dolby Digital, DTS and SDDS, can co-exist with each other and the analog optical soundtrack on a single version of the film print. This means that a film print carrying all three of these formats (and the analog optical format, usually Dolby SR) can be played in whichever format the theater is equipped to handle. CDS did not achieve widespread use and ultimately failed. It premiered with the film "Dick Tracy" and was used with several other films, such as "Days of Thunder" and "Terminator 2: Judgement Day".
In 1926, Daniel established the first film studio in Kerala named "The Travancore National Pictures". It was near the present Public Service Commission office, Pattom, Trivandrum. He obtained funds for this purpose by selling a piece of land in his name for an amount of Rs.400,000. With everything set, Daniel finally started the production work of the film of his dreams. He wrote the script and titled it "Vigathakumaran". The film did not have sound or dialogue. He directed and wielded the camera for the film and also played the role of the protagonist in the film. P. K. Rosie acted as the heroine. He also did most of the post-production work including editing. The theme of the film was of social significance and was one of the earliest films of the genre. At the time, when most of the Indian films were based on stories from the "Puranas" and films with social themes were rare, Daniel showed creativity and originality with his selection of the theme of the movie.
What is now called Foley originated as sound effects added to live broadcasts of radio drama from radio studios around the world in the early 1920s. Phonograph recordings of the era were not of sufficient quality or flexibility to faithfully reproduce most sound effects on cue, so a sound effects person had to create all sounds for radio plays live. Jack Donovan Foley started working with Universal Studios in 1914 during the silent movie era. When Warner studios released "The Jazz Singer", its first film to include sound, Universal knew it needed to stay competitive and called for any employees who had radio experience to come forward. Foley became part of the sound crew that turned Universal's then-upcoming "silent" musical "Show Boat" into a musical. Because microphones of the time could not pick up more than dialogue, other sounds had to be added in after the film was shot. Foley and his small crew projected the film on a screen while recording a single track of audio that captured their live sound effects. Their timing had to be perfect, so that footsteps and closing doors synchronized with the actors' motions in the film. Jack Foley created sounds for films until his death in 1967. His basic methods are still used today.
Hang-Ups, Goldfinger's second album on Mojo Records, was released September 9, 1997. Many of the album's tracks feature more of a ska sound than their debut. The album's first single "This Lonely Place" was not as successful as "Here in Your Bedroom", a single off their debut album, but it did gain them numerous talk show appearances and spins of the video, which parodies the 1979 film Alien.
Show Boat is a 1929 American romantic drama film based on the novel "Show Boat" by Edna Ferber. The film initially did not use the 1927 stage musical of the same name as a source, but scenes were later added into the film incorporating two of the songs from the musical as well as other songs. This version was released by Universal in two editions, one a silent film for movie theatres still not equipped for sound, and one a part-talkie with a sound prologue.
Lynch worked with cinematographer Peter Deming to give the film a surreal look. Because the script did not include many descriptions, the film's visual approach evolved as filming progressed. Deming would occasionally pull out the lenses of his camera to defocus a particular scene, while Lynch would often listen to music in his headset and to a scene at the same time to visualize the screenplay. According to him, "Sound and picture working together is what films are [...] So every single sound has to be supporting that scene and enlarging it. A room is, say, nine by twelve, but when you're introducing sound to it, you can create a space that's giant". The notion of a psychogenic fugue was incorporated into the film after the unit publicist read it up on a book about mental illnesses. Lynch felt it was a musical term, stating that "a fugue starts off one way, takes up on another direction, and then comes back to the original, so it [relates] to the form of the film."
Peggy Morton (Susan Denis) works as the star of a touring tent show in rural Queensland when she is offered the lead in the first Australian talking film, being made in the Blue Mountains. A rival, Mona Blake (Sadie Bedford) tells her that the offer has been withdrawn and takes the job instead. Peggy's show closes and she finds a job by posing as a Swedish maid. She winds up employed at the same hotel being used by the film company and discovers Mona's deception. Mona's husband abducts Peggy but an actor, Barry (Arthur Clarke) rescues her. Peggy ends up getting cast in the film.The film was directed by Norman Dawn, who had previously made two films in Australia. He returned to Sydney in October 1929 with plans to make a sound movie using a sound-on-disc recording system. He announced he would go into partnership with J.C. Williamson Ltd but this does not seem to have eventuated. The formed a company, Australian Talkies. One of his investors was radio announcer, "Uncle George" Saunders. An original title of the film was "Talkie Mad".
In Chapter Three, North considers "Close Up", the European film magazine published in Switzerland "with the more-or-less constant assistance of H.D." from 1927 to 1933. Noting the "considerable convergence of the literary world and the no longer quite so new medium of the movies" by 1927, North furthers his examination of international modernism's struggle with sound by pursuing the introduction of sound technology into silent cinema as a revealing moment in the history of globalization. Hollywood's attempts to cope with "the foreign problem", or that 9/10 of the world's population in 1927 did not speak English, often by shooting films in five different languages, are contrasted with utopian strategies advanced by the avant-garde that attempted to bring about an international film culture of the future based on global multilingualism or even Esperanto. In Chapter Two, North argued that sound came just as critics were raising silent film to the status of art, and here he shows how these two instances of perceived contamination, sound as intruder into the autonomous visuality of film and sound as divisive force in the international medium of the eye, often inflected or contradicted one another in the pages of the magazine. North concludes by stating: ""Close Up" registers an awareness in modernism of the strangeness opened up within ordinary experience by the new media, which, instead of establishing a new universal language, had exposed the inherent unfamiliarity of languages long in use."
In 2010, he committed for the first time to collaborate with a short film "Will you be there?" by Sandeep Kurissery and in 2013, he worked along with Sandeep as location sound recordist and editor for another short film "Amguleechaalitham" ("Manipulated by fingers") by Prasanth Vijay. In 2014, in collaboration with Sandeep, he did the location sound for the first feature film "Oraalppokkam" ("Six Feet High") directed by Sanal Kumar Sasidharan, that brought him the Kerala State Film Award for the Best Sync Sound (location sound) in 2014. The following year, he committed his second project again with Sanal Kumar Sasidharan for his feature film "Ozhivudivasathe Kali" ("An Off day Game") that carried for a second time the Kerala State Film Award 2015 for the Best Sync Sound. In 2015, he did the location sound for the film "Savam" ("The Corpse") directed by Don Palathra. He recorded the location sound for the Marathi/Hindi film "Eli Eli Lama Sabachthani?" ("The Forsaken") directed by Jiju Antony in 2016. He worked as location sound recordist, sound designer (along with Sandeep Kurissery) and film editor in the feature film Athisayangalude Venal ("The Summer of Miracles") directed by Prasanth Vijay in 2017.
Ufa acquired the German sound film rights for the Tri-Ergon process in 1925, but dropped the system when the public showing of their first sound film suffered technical failures.
"The Man Who Laughed" was initially released without music, but following the film's initial success, it was recalled and re-released with sound effects, a synchronized score, and a theme song, provided by the Movietone sound-on-film system. Leni did not employ the shrieking and creaking sound effects of horror theater (although he did in his following film, "The Last Warning"). Instead, the film's viewers are disconcerted by hearing the sounds of the crowds and audiences within the film (often laughing at or jeering Gwynplaine), while the main characters (including Gwynplaine himself) are left entirely silent. The film's theme song, "When Love Comes Stealing", was an Ernö Rapée instrumental piece previously used for some showings of the 1922 film "Robin Hood", but with added lyrics by Walter Hirsch and Lew Pollack. The remainder of the score comprises music by William Axt, Sam Perry, and Rapée, and one piece by Gustav Borch which was later reused in the 1932 zombie film "White Zombie".