Film Rhythm After Sound

Lea Jacobs

Editore: University of California Press, 2015
ISBN 10: 0520279646 / ISBN 13: 9780520279643
Usato / Hardcover / Quantità: 0
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Riassunto: 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.

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

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Titolo: Film Rhythm After Sound
Casa editrice: University of California Press
Data di pubblicazione: 2015
Legatura: Hardcover
Condizione libro: New

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Descrizione libro University of California Press. Hardcover. Condizione libro: Good. 0520279646 Bumped and creased book with tears to the extremities, but not affecting the text block - GOOD. Codice libro della libreria Z0520279646Z3

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Descrizione libro University of California Press, 2015. HRD. Condizione libro: New. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Codice libro della libreria WF-9780520279643

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Descrizione libro University of California Press, United States, 2014. Hardback. Condizione libro: New. Language: English . Brand New Book. 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 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. Codice libro della libreria AAH9780520279643

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Lea Jacobs
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Descrizione libro University of California Press, United States, 2014. Hardback. Condizione libro: New. Language: English . Brand New Book. 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 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. Codice libro della libreria AAH9780520279643

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Descrizione libro University of California Press 2015-02-10, Oakland, California, 2015. hardback. Condizione libro: New. Codice libro della libreria 9780520279643

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Descrizione libro University of California Press, 2014. Condizione libro: Good. A+ Customer service! Satisfaction Guaranteed! Book is in Used-Good condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain limited notes and highlighting. Codice libro della libreria 0520279646-2-4

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