زیبایی‌شناسی فیلم‌های صدای اولیه: تغییر رسانه در حدود ۱۹۳۰

This volume takes a fresh look at the various aesthetics emerging globally in the early sound film era, with a focus on the films’ fundamentally experimental and inventive character. By considering films and production contexts often neglected in film studies, it strives to counter the still dominant view of the transitional period as a time of yet-to-be-perfected forerunners of ‘classical’ sound film. Instead, authors highlight the sense of ‘fruitful uncertainty’ in this period of media change and transformation. Subjects covered include visual and auditory style; the uses of speech, music, and noises; aesthetic conceptions in sound film theory; and intermedial aesthetics. The volume’s scope is decidedly international, covering production and reception contexts in the Soviet Union, Japan, the USA, Germany, France, Italy, the UK, and Switzerland. Table of Contents 5 1. The Aesthetics of Early Sound Film: An Introduction 7 Part I: From Silence to Sound 29 2. Dialogue Scenes in the Period of Multiple-Camera Shooting 29 3. Expressive Visual Effects from Silent to Sound Film 49 4. From the Lexigraphic to the Melomanic 67 Part II: From Theory to Practice 89 5. “To Select, To Organize, To Sharpen” 89 6. Futurists and ‘Homogenizers’ in Early Soviet Sound Film 105 Part III: National Contexts 125 7. Early Japanese Sound Film Aesthetics at Shochiku and Nikkatsu 125 8. Early Sound Films in France: Contexts and Experiments 143 9. Reporters, Radio Waves, and the Dispersed Audience 157 Part IV: Speech and Language 177 10. Talking Photographs 177 11. Die Nacht gehört uns/La nuit est à nous and Multilingual Reception in Switzerland 193 12. The Mimetic Attempt of Multiple Versions 205 Part V: Music and Noise 225 13. “How Did the Music Get to the Fish Market?” 225 14. The Sounds of War: Reflections on WWI Films of 1930 243 15. Urban Noise in the Early Italian Sound Film Gli uomini, che mascalzoni ... 261 General Bibliography 277 Index 297