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Film Rhythm after Sound: Technology, Music, and Performance, by Lea Jacobs
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The seemingly effortless integration of sound, movement, and editing in films of the late 1930s 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.
- Sales Rank: #2316725 in Books
- Published on: 2014-12-18
- Original language: English
- Number of items: 1
- Dimensions: 9.10" h x .90" w x 6.10" l, .0 pounds
- Binding: Hardcover
- 280 pages
Review
I ll start with a simple declarative statement: this is a brilliant book. If you care about the way that movies are made and experienced, you need to read it. Now. --Kent Jones"Film Comment" (05/01/2015)"
"Finely tuned . . . Jacobs expertly analyzes the scores of early sound films, brilliantly opening up the experimental (and clever) use of rhythm, tempo, and sound effects.; This is a virtuoso performance on the cinematic art of tempo and rhythm."--T. Lindvall"CHOICE" (06/01/2015)
From the Inside Flap
“Film Rhythm after Sound is the most convincing demonstration I’ve seen of how much Ezra Pound’s description of poetry ('form cut in time') applies to narrative cinema. Everyone knows that dramatic motion pictures rely on rhythm and pacing to hold our interest and stimulate emotion, but until this book we have had almost no tools to analyze rhythm across the many forms it takes in feature films. This book is a major achievement.”—James Naremore, author of An Invention without a Future: Essays on Cinema
“This brilliant investigation of experiments with rhythmic form in early sound cinema fills a major gap in our understanding of film aesthetics. Against the backdrop of a revisionist assessment of Eisenstein’s concept of rhythmic montage, Lea Jacobs explores the collaborative efforts of Hollywood directors, performers, screenwriters, composers, and editors in the 1930s to incorporate spoken dialogue and music into the formal design of synchronized sound films. In the process she invents nothing less than a new type of audiovisual analysis, one attentive to cinematic rhythm as a complex formal matter, irreducible to a single compositional principle or stylistic element and operating on multiple temporal scales. No existing study brings together an examination of acting, dialogue, music, and visual style in cinema in precisely this way. Film Rhythm after Sound will be of keen interest not only to film historians and analysts but also to scholars engaged with aesthetic issues across the performing arts.”—Charles Wolfe, Professor of Film and Media Studies, University of California, Santa Barbara
About the Author
Lea Jacobs is Professor of Film at the University of Wisconsin–Madison and author of The Decline of Sentiment: American Film in the 1920s.
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Experiments at the intersection of speech and music in the first decade of sound film
By Anthony L. Jones
The early days of sound film were a time of great experimentation for the applications of sound and music in film, at the intersection of old and new techniques. This excellent book goes some way to exposing several of those experiments, tracing their origins from outside the cinema, from melodrama and other types of theatre. The implications go way beyond the limits of Hollywood. Jacob provides many transcription of text and music, supplemented by resources accessible from her website. This is highly recommended for readers interested in the history of film technology and of film music in the first decade of sound film.
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