Medienwissenschaft / Hamburg: Berichte und Papiere

17, 2003: Sound.

 

Redaktion und Copyright dieser Ausgabe: Hans J. Wulff.

Letzte Änderung: 16. Januar 2001.

 

Sound: Eine Arbeitsbibliographie

Hans J. Wulff

 

Abbott, George (1929) The big noise: An unfanatical defense of the potentialities of talking pictures, the cinema's unwanted scion. In: Vanity Fair 32,79, April 1929, p. 110.

•         Predictions of a stage producer.

Academy of Motion Picture Arts and Sciences, Research Council (1938) Motion picture sound engineering.

Academy of Motion Picture Arts and Sciences (1938) (comp.) Motion picture sound engineering. New York: Van Nostrand 1938, 547 pp.

Adamson, J. (1978) Crabquacks. In: Take One 6,2, 1978, pp. 18-22.

•         On the impetus which the advent of sound recording gave cartoons.

Agag [Pseud.] (1931) The new noise. In: G.K's Weekly, 13, 1. August 1931, p. 326.

•         Chronicles the author's reactions during his first visit to a talking picture.

Ahern, Maurice L. (1930) Hollywood horizons. In: Commonweal 12, 21. May 1939, pp. 71-73.

•         Summarizes the effects of the sound revolution on the fortunes of silent-screen and stage actors.

Aiken, Joseph E. (1958) Technical notes and reminiscences on the presentation of Tykociner's sound picture contributions. In: Journal of the SMPTE 67, 1958.

•         Repr. in: Fielding 1967, pp. 222-223.

•         See also McCullough 1958.

Akemann, Walter (1931) Tontechnik und Anwendung des Tonkoffergerätes. In: Kinotechnik v. 5.12.1931, pp. 444ff.

Aldred, John (1978) Manual of sound recording. 3rd ed. :Fountain Press/Argus Books 1978, 372 pp.

Aldred, John (1981) Fifty years of sound. American Cinematographer, Sept. 1981, pp. 888‑889, 892‑897.

•         History of development of sound in films.

Aldred, John (1997) Cinema Loudspeakers. In: AMPS Newsletter 21, March 1997.

Alkin, Glyn (1981) Sound recording and production. London/Boston: Focal Press 1981, 224 pp.

•         Repr. 1987.

Alkin, E. Glyn M. (1972) Sound with vision: sound techniques for television and film. New York: Crane Russak 1972.

•         London: Butterworths [for the BBC] 1973, 283 pp.

Allighan, Garry (1929) The romance of the talkies. London: Claude Stacey 1929, 104 pp.

•         General survey of talking films. Discusses the trends of public taste, problems entailed in the production of sound films, including new directional techniques. Includes some statistical data.

Alsina Thevenet, H. (1979) Asi empesó el sonoro. In: Cinema 2002 47, Jan. 1979, pp. 42-45.

•         Notes on the introduction of sound in films.

Alsina Thevenet, H. (1982) Asi empesó el cine sonoro y parlante. In: Cinemateca Revista 5, 30. February 1982, pp. 22-25.

•         Coming of sound; problems and shortcomings of the first sound systems.

Alten, Stanley R. (1981) Audio in media. Belmont, Cal.: Wadsworth Publishing Co. 1981.

Altman, Charles F. (1980) Moving lips: Cinema as ventriloquism. In: Yale French Studies, 60, 1980, pp. 67-79.

•         Examines notion of sound-image "redundancy". Proposes model of cinema as ventriloquism - sound track as ventriloquist, image as dummy - to invert sound-image balance in criticism.

Altman, Charles F. (1980) Introduction. In: Yale French Studies, 60, 1980, pp. 3-15.

•         Capsule summary of technological developments (e.g., magnetic recording, multiple-channel, Dolby) in sound film subsequent to 1927, to stress the separation of production of sound and image tracks, and the constructed nature of film sound.

Altman, Rick (1985a) The technology of the voice. In: Iris 3,1, 1985, pp. 3-20.

Altman, Rick (1985b) The evolution of sound technology. In: Weis & Belton 1985, pp. 44-53.

•         Zuerst 1980.

Altman, Rick (1986) Television/sound. In: Studies in entertainment: Critical approaches to mass culture. Ed. by Tania Modleski. Bloomington/Indianapolis: Indiana University Press 1986, pp. 39-54.

Altman, Rick (1992) (ed.) Sound theory, sound practice. New York/London: Routledge 1992, vi, 290 pp. (AFI Film Readers.)

Altman, Rick (1995) The sound of sound. A brief history of the reproduction of sound in movie theaters. In: Cineaste. 21,1-2, pp. 68-71.

Altman, Rick (1996) Die Geburt der klassischen Rezeption. Die Kampagne zur Standardisierung des Tons.“ In:  Montage / AV 5,2, pp. 3-22.

Amarasingham, Indiram (1971) Film-sound-space: The OSS (Optical Sound Synthesizer). In: Filmmakers Newsletter 4,6, April 1971, pp. 35-38.

Ames, Winthrop (1928) The future of the talkies. In: Theatre Guild Magazine 6, October 1928, p. 22.

Amyes, Tim (1990) Technique of audio post-production in video and film. London: Focal Press 1990, 160 pp.

Anderson, John (1931) The ghost of a show. In: Harper's Bazaar 65, February 1931, pp. 92-3, 148.

•         Limitations of the talkies as a creative rival of the living drama.

Anderson, Joseph D. (1993) Sound and image together: cross-modal confirmation. In: Wide Angle 15,1, 1993, pp. 30-43.

Andrew, Dudley (1980) Sound in France: The origins of a native school. In: Yale French Studies, 60, 1980, pp. 94-114.

•         Repr. in: Rediscovering French film.Ed. by Mary Lea Bandy. Introd. by Richard Roud. New York: The Museum of Modern Art; distrib. by New York Graphic Society Books (Little, Brown and Comp., Boston) 1983, pp. 57-65.

•         Following a historical section on the technological and economic domination by the United States (Paramount) and Germany (Tobis) of early French sound film production, analyzes the seminal influences of Renoir's naturalism (LA CHIEN­NE) and Grémillon's poetic realism (LA PETITE LISE).

Andrews, Ben (1979) The semiotics of film sound: A study of the sound-image articulation in Adieu Philippine. Ph.D. Thesis, Columbia, Miss.: University of Missouri 1979.

•         Ann Arbor, Mich./London: University Microfilms 1980.

Anonymous (1907) O.T. In: Der Kinematograph (Düsseldorf), 13, 31.3.1907.

•         Über das Biophon-Verfahren Messters.

Anonymous (1908) Wie singende Bilder (Tonbilder) entstehen. In: Der Kinematograph (Düsseldorf), 65, 25.3.1908.

•         Über das Biophon-Verfahren Messters.

Anonymous (1926) New musical marvels in the movies. In: Etude (Philadelphia) 44, Oct. 1926, p. 781.

•         Reports the successful first showing of Vitaphone's pioneering sound films including DON JUAN [1926] with John Barrymore.

Anonymous (1927) Development of talking films. In: Film Daily Yearbook of Motion Pictures, 1927, p. 814.

Anonymous (1928) Hollywood speaks. In: The Nation 127, 26. Sept. 1928, pp. 285-286.

•         On the current shortcomings of the sound film.

Anonymous (1929) Film acting ranks turned over. In: Variety 93, 2. Jan. 1929, p. 26.

•         Changes wrought in Hollywood film careers by the advent of sound.

Anonymous (1929) The terrible talkie. In: Review of Reviews (London) 79, June 1929, p. 148.

*           On the revolutionizing effects of sound.

Anonymous (1929) Shifting values in talking pictures. In: National Board of Review Magazine 4, May 1929, pp. 8-10.

Anonymous (1929) Layout for Bulldog Drummond. In: Creative Art 5, Oct. 1929, pp. 729-734.

Anonymous (1930) The emotive influence of the cinema. In: International Review of Educational Cinematography (Rome) 2, March 1930, pp. 297-302.

•         Holds that the sound film is superior to the stage in technique and to other arts in its universality.

Anonymous (1930) Color and sound on film. In: Fortune 2, Oct. 1930, pp. 33-35, 124, 127-128, 130.

Anonymous (1930) The poor old theatre. In: The Nation 131, 27. Aug. 1930, p. 216.

Anonymous (1930) The talkies' future. In: The Nation 130, 15. Jan. 1930, pp. 61-62.

•         Opposes the contention that the talkies will surpass the silent film.

Anonymous (1931) Der schlechte Ton. Erfahrungen und Ratschläge des technischen Kundendienstes der Ufa. Berlin: A. Scherl 1931, 39 pp.

Anonymous (1932) New art fits foreign speech to any film. In: Popular Sciences 121, Nov. 1932, pp. 36-37.

•         On a new German method for dubbing.

Anonymous (1932) Art, technique and internationality of the sound film. In: International Review of Educational Cinematography (Rome) 4, Dec. 1932, pp. 958-959.

•         Comments on articles by H.W. Betz and Kurt London (in: Der Film, Berlin, Oct.-Nov. 1932) on the aesthetic aspects of "rhythmography", a technique of dialogue dubbing.

Anonymous (1933) Experiments in hand drawn sound. In: The Film Society Programme (London), 10. December 1933.

•         Describes Oskar Fischinger's 1933 experiments in the creation of synthetic sound through transferring hand-drawn patterns to the sound track. Includes a description of Rudolf Pfenninger's similar method.

Anonymous (1934) Weather Forecast. In: The Film Society Programme (London), 28. Oct. 1934.

•         On the documentary film Weather Forecast, Großbritannien 1934.

Anonymous (1940) Ufa-Richtlinien und Bestimmungen für die tonliche Weiterbearbeitung der Filme nach Fertigstellung der Schnittkopie. Babelsberg: Ufa 1940.

Anonymous (1959) Dubbing in the voices. Also a big production. In: Life 46, 15. June 1959, pp. 79-80.

•         The dubbing for Porgy and Bess.

Anonymous (1961) Magnetic sound recording for motion pictures. 2nd ed. Rochester, N.Y.: Eastman Kodak 1961, 64 pp. (Kodak Publication. P-26.).

Anonymous (1964) Siemens‑Klangfilm Karlsruhe. In: Filmtechnikum, 7, 1964, pp. 195‑198.

Anonymous (1975) The new Swintek "Hitchhiker" cordless microphone system. In: American Cinematographer 56,6, June 1975, pp. 676-677, 720.

Anonymous (1975) [Inquiry.] In: Chaplin 4 [=139], 1975, pp. 180-206; 6 [=141], 1975, pp. 312-318.

•         Part one: opinions of 35 directors on the significance of sound in film experience. Part two: on the significance of sound for filmic expression.

Anonymous (1976) Time base code systems at Photokina '76. In: American Cinematographer 57,12, Dec. 1976, pp. 1334-1335.

•         Describes a new time base code system fascilitating the synchronization of sound and picture.

Anonymous (1976) Recherches sonores. In: Cinéma d'Aujourd'hui 9, Autumn 1976, pp. 109-112.

•         On early attempts to combine sound and film.

Anonymous (1978) Directors on sound. In: Take One 6,2, 1978, pp. 23-26.

Anonymous (1980) [Ciné-Magazine.] In: L'Avant-Scène Cinéma 248, 15. May 1980, pp. 31-46.

•         Reprints from the French Ciné-Magazine, nos. 4-5, 1930. Includes articles on stars of yesterday, the Paramount cinema in Paris, by Chaplin, impressions from a film trip to America (by Maurice Bessy) and an article on the "new phenomenon of sound".

Anonymous (1982) Amsterdam-Berlijn. In: Skoop 18,2, March 1982, pp. 19-33.

•         Special section: Articles and interviews on Dutch cinema in the 1930's on the occasion of the festival and exhibition "Berlijn-Amsterdam 1920-1940".

Anonymous (1985) Le doublage ou "belle marquise": entretien avec Jean Yvane. In: Le Français Aujourd'hui 71, 1985, pp. 67-71.

•         On film dubbing.

Apon, A. (1979) Esthetiek en techniek. In: Skrien 91, Nov. 1979, pp. 14-18.

•         Interview. Dutch sound-man E.L. discusses his attitudes towards his profession.

Armes, Roy (1988) Entendre, c‘est comprendre. In defence of sound reproduction. In: Screen 29,2, pp. 9-22.

Arnheim, Rudolf (1932) Film als Kunst. Berlin: Rowohlt 1932.

•         Repr. München: Hanser 1974.

•         Sound film. In His: Film. London: Faber & Faber 1933, pp. 201-280.

•         Repr. London: Faber & Faber 1958; paperback ed. 1969.

•         Critical examination of the dramaturgic and aesthetic problems of film production posed by the advent of sound. Rejects the aesthetic concept implicit in the all-talkie film, emphasizing the importance of silence as a sound effect. Analyzes the sensory-psychological fundamentals of sound films, dealing with the realted topics of miming, sound montage, and the acoustic experiments of Fritz Lang, René Clair, Wilhelm Thiele, Karl Grune, and Alexander Granowsky in sound parallelism, counterpoint, and asynchronism. Urges the total integration of sound and music with the spoken word as an aesthetically valid form of filmic expression.

Arnheim, Rudolf (1933) Film als Kunst.

•         The complete film. In His Film as art. Berkeley, Cal.: University of California Press 1957, pp. 154-160.

•         The "complete" film, toward which sound, color, wide-screen, and 3-D strive, runs counter to film's formative (artistic) tendency.

Arnheim, Rudolf (1935) Expression. In: Intercine (Roma) 7, March 1935, pp. 164-165.

Arnheim, Rudolf (1928) Der tönende Film. In: Die Weltbühne, 42, 16.10.1928, pp. 601-604.

•         Repr. in: Arnheim 1977, pp. 58-61.

Arnheim, Rudolf (1929) Tonfilm-Verwirrung. In: Die Weltbühne, 17, 23.4.1929, pp. 638-642.

•         Repr. in: Arnheim 1977, pp. 61-64.

Arnheim, Rudolf (1929) Der singende Narr. In: Die Weltbühne, 24, 11.6.1929, pp. 906-907.

•         Repr. in: Arnheim 1977, pp. 65-66.

•         Review of The Jazz Singer.

Arnheim, Rudolf (1931) Tonfilm mit Gewalt. In: Vossische Zeitung, 213, 12.9.1931.

•         Repr. in: Arnheim 1977, pp. 68-71.

Arnheim, Rudolf (1932) Tonfilm auf Abwegen. In: Berliner Tageblatt, 124, 13.3.1932.

•         Repr. in: Arnheim 1977, pp. 71-73.

Arnheim, Rudolf [under the name of Robert Ambach] (1933) Geräusche in der linken Hand. In: Berliner Tageblatt, 154, 2.4.1933.

•         Repr. in: Arnheim 1977, pp. 76-78.

•         [Ital.:] Contrappunto sonoro. In: La Stampa (Torino), 20.6.1933.

Arnheim, Rudolf (1933) Philosophie des Ach so. In: Berliner Tageblatt, 37, 22.1.1933.

•         Repr. in: Arnheim 1977, pp. 73-76.

Arnheim, Rudolf (1938) Nuovo Laocoonte. In: Bianco e Nero, 8, 31.8.1938, pp. 3-33.

•         [German:] Neuer Laokoon. Die Verkoppelung der künstlerischen Mittel, untersucht anläßlich des Sprechfilms. In: Arnheim 1977, pp. 81-112.

•         [Engl., abbrev.:] A new Laocoon. Artistic composites and the talking film. In: Rudolf Arnheim, Film as art. Berkeley, Cal./Los Angeles, Cal./Lon­don: University of California Press 1957, pp. 199-230. Repr. 1972.

•         [Excerpt:] In: Weis & Belton 1985, pp. 112-115.

•         Theoretical study of the aesthetic laws whose violation made the talking film so unsatisfactory.

Arnheim, Rudolf (1977) Kritiken und Aufsätze zum Film. Hrsg. v. Hemut H. Diederichs. München: Hanser 1977, 364 pp.

Arnheim, Rudolf (1977) Asynchronismus. In: Arnheim 1977, pp. 78-81.

Arnoux, Alexandre (1946) Du muet au parlant: Mémoires d'un témoin. Paris: La Nouvelle Edition 1946.

•         Includes articles on the coming of sound, use of sound by Renoir, Chaplin, and others.

Asquith, Anthony (1931) Technique of the talking film. In: Saturday Review (London) 152, 28. Nov. 1931, p. 682.

•         Repr. in: Millgate (Manchester) 27, Feb. 1932, pp. 262-264.

•         Stresses the necessity for the complete integration of sound and image in talking films.

Asquith, Anthony (1933) Rhythm in sound films. In: Cinema Quarterly 1,3, 1933, pp. 144-147.

•         "Rhythm in the sound film lies in the realtion of the change of angle in the visual stream to the sound dialogue which accompanies it."

Asquith, Anthony (1958) Wanted - a genius. In: Sight and Sound 7,25, Spring 1958, pp. 5-6.

•         Mediocrity of sound productions.

Atkins, Irene Kahn (1983) More than meets the eye: A bibliography of music and sound in motion pictures. In Her: Source music in motion pictures. London/Toronto: Associated UP 1983, pp. 128-185.

Auriol, Jean-Georges (1929) La vilaine querelle du cinéma parlant. In: La Revue du Cinéma, 15.10.1929.

Avron, Dominique (1973) Remarques sur le travail du son dans la production cinématographique standardisée. In: Cinéma: Théorie, lectures. Textes réunis et présentés par Dominique Noguez. Paris: Klinck­sieck 1973, pp. 207-218 (Revue d'Esthétique. Numéro Spécial.).

•         Progressive stages in filmmaking demonstrate the tyranny of the visual: less creative attention is paid to latter phases than to former. Detailed analysis of practices at each pahse, with psychoanalytically oriented approach to sound track's secondary elaboration.

Bächlin, Peter (1945) Der Film als Ware. Basel 1945.

•         Frankfurt: Athenäum Fischer 1975, 252 pp. (Fischer Athenäum Taschenbücher. 4043.).

•         See pp. 54-69, on economical aspects of coming of sound.

•         [French:] Histoire économique du cinéma. Paris 1947.

Bachy, Victor (1965) Die menschliche Stimme - ein verkanntes Element dert Filmsprache. In: Sprache im technischen Zeitalter, 13, 1965, pp. 1039-1044.

Baggett, Patricia (1984) Role of temporal overlap of visual and auditory material in forming dual media associations. In: Journal of Educational Psychology 76, 1984, pp. 408-417.

Bagier, Guido (1931) Der Tonfilm - eine deutsche Erfindung. In: Die Woche, 27, 4.7.1931.

•         Spec. issue: "Der Tonfilm". On Triergon and Movietone.

Bagier, Guido (1943) Das tönende Licht. Berlin: Groß 1943.

Bähr, Ernst / Bähr, Hermann (1934) Mikrophone und Verstärker. Anleitung zum Selbstbauen von Mikrophonen und Besprechungsanlagen zur Aufnahme und Wiedergabe von Schallplatten und Amateur-Tonfilmen. Mit 96 Abb. Berlin: Deutsches literarisches Institut Schneider [1934], 108 pp. (Deut­sche Radio-Bücherei. 54.).

Bailblé, Claude (1978/79) Pour une nouvelle approche de l'enseignement de la technique du cinéma: Programmation de l'écoute. In: Cahiers du Cinéma, [1:] 292, Sept. 1978, pp. 52-59; [2:] 293, Oct. 1978, pp. 5-12; [3:] 297, Feb. 1979, pp. 45-54; [4:] 299, April 1979, pp. 16-27.

•         Part of a general introduction into film, whose purpose is to draw together technology, psychology, and physiology of perception, and psychoanalytic film theory. Begins with theory of listen­ing/speaking subject. Aural perception. In pt. 3 follows a description of Lacanian aspects of the subject in language. Summary of history of sound recording. Semiotic and psychological functions of sound track. Theoretical consideration of the microphone: since the recording apparatus is reductive, manipulation is necessary to re­store/ensure impression of reality. Pt. 4 deals with physiology and psychology of hearing, flexibility and adaptability of the ear, as opposed to technology. Standard practices of creating temporal and spatial dimensions of auditory field in film.

Bakshy, Alexander (1928) The future of the movies. In: The Nation 127, 10. Oct. 1928, pp. 360, 362, 364.

Bakshy, Alexander (1929) The movie scene: Notes on sound and silence. In: Theatre Arts Monthly 13, Feb. 1929, pp. 97-107.

•         Salutes the emergence of the talkies. Aesthetic specificity of the sound film.

Bakshy, Alexander (1929) "The talkies". In: The Nation 128, 20. Feb. 1929, pp. 236-238.

•         Prognostications on the evolution of the talking screen.

Bakshy, Alexander (1930) As you were. In: The Nation 130, 22. jan. 1930, pp. 106, 108.

•         Claims that sound is used with originality only in Walt Disney's cartoons.

Bakshy, Alexander (1930) New dimensions in the talkies. In: The Nation 131, 24. Dec. 1930, pp. 702-703.

Bakshy, Alexander (1931) Lectures from the screen. In: The Nation 133, 22. July 1931, pp. 94-95.

Bakshy, Alexander (1931) Shrinking of personality. In: The Nation 132, 27. May 1931, p. 590.

•         Discusses the effect of sound on the actor's screen personality.

Bakshy, Alexander (1931) Films S.O.S. In: The Nation 133, 5. Aug. 1931, p. 142.

Bakshy, Alexander (1932) Concerning dialogue. In: The Nation 135, 17. Aug. 1932, pp. 151-152.

Balazs, Béla (1929a) Das Tonfilm-Manuskript. In: Film-Kurier, 1. Juni 1929.

•         Repr. in: Balázs 1984, pp. 250-254.

Balazs, Béla (1929b) Tonfilm. In: Arbeiterbühne, Juni 1929.

•         Repr. in: Balázs 1984, pp. 254-256.

Balazs, Béla (1930a) Der Geist des Films. Halle a.d.Saale: Wilhelm Knapp 1930.

•         See pp. 142-183, "Der Tonfilm".

•         Repr. in: Balázs 1984, pp. 49-205; "Tonfilm", pp. 150-182.

Balazs, Béla (1930b) Abschied vom stummen Film. In: Der Querschnitt, 4, April 1930.

•         Repr. in: Balázs 1984, pp. 270-273.

Balazs, Béla (1930c) Tonfilm ist keine Theaterkonkurrenz. In: Film-Kurier, 145, 21. Juni 1930, 2. Beibl.

•         Repr. in: Balázs 1984, pp. 273-275.

Balazs, Béla (1931a) Wo bleibt das deutsche Tonfilmarchiv? In: Filmtechnik, 16, 8. August 1931.

•         Repr. in: Balázs 1984, pp. 283-287.

Balazs, Béla (1931b) Vorschläge an ein Studio. In: Filmtechnik, 10, 16. Mai 1931.

•         Vorschlag für eine Serie Kurzspielfilme. In: Film-Kurier, 108, 9. Mai 1931.

•         Repr. in: Balázs 1984, pp. 282-283.

•         Let's organize an experimental studio for sound films! In: Experimental Cinema (Los Angeles), 4, 1933, p. 17.

•         Tonfilmexperimente. In: Kino (Moscow), 59, 1931, p. 3.

•         Designing experimental approaches in using sound.

Balazs, Béla (1949) Der Film. Werden und Wesen einer neuen Kunst. Wien: Globus Vlg. 1949, 310 pp.

•         Reprinted several times.

•         See ch. XVI, "Der Tonfilm", pp. 181-204; vh. XVII, "Der Dialog", pp. 205-214; ch. XVIII, "Das Problem der Ton-Groteske", pp. 215-224.

•         [Engl.:] Theory of the film. Character and growth of a new art. New York: Dover 1970, pp. 194-241.

•         First Engl. ed. London: Dobson 1952.

•         [Excerpt:] Theory of the film: sound. In: Weis & Belton 1985, pp. 116-125.

•         Chapters on "Sound," "Dialogue," and "Problem of the Sound Comedy". Advocates foregrounding and isolating details from the acoustic landscape, and collating them again in "purposeful order by sound-montage".

Balazs, Béla (1984) Schriften zum Film. 2. Der Geist des Films. Artikel und Aufsätze, 1926-1931. Berlin: Henschelvlg. Kunst und Gesellschaft 1984, 376 pp.

Balzola, A. (1980) L'afasia del cinema nel silenzio di Wenders. In: Cinema Nuovo 29,267, 1980, pp. 25-26.

•         On the use of dialogue and silence in Wenders' films, particularly in Im Laufe der Zeit.

Bandy, Mary Lea (ed.) (1989) American moviemakers: The dawn of sound. Essays by Robert Gitt [...]. New York: The Museum of Modern Art 1989, 56 pp.

•         Published on the occasion of an exhibition at the Museum of Modern Art, New York, October 19 - December 4, 1989.

Barnes, Howard (1930) Off to Hollywood? No, the theatre has not yet capitulated to the film. In: Theatre Guild Magazine 7, June 1930, pp. 11-12, 56.

Barnes, Howard (1930) Talkie-town. In: Theatre 52, July 1930, pp. 36-37, 63-64.

Baronnet, Jean (1964) Eloge de la phonie. In: Cahiers du Cinéma, 152, 1964, pp. 37-41.

•         Praises idiosyncrasies of the voice. Point is not to imitate codified techniques but to find the unique sound appropriate to the cinematic moment.

Barry, Iris (1929) The screen talks. In: Spectator (London) 142, 27. April 1929, pp. 645-646.

•         With speculations on the propagation, by the talkie, of English as a world language.

Batchelor, J. (1984) From AIDA to ZAUBERFLÖTE. In: Screen 25,3, 1984, pp. 26-38.

Baudrier, Yves (1964) Le monde sonore. In His: Les signes du visible et de l'audible. Paris: L'Institut des Hautes Etudes de Cinématographie 1964.

Beaton, Welford (1929) A real tail on a bronze bull. In: Saturday Evening Post (Philadelphia) 202, 21. Sept. 1929, pp. 22-23, 136, 140.

•         On the shortcomings of sound and the superiority of pantomime.

Beatty, J. (1939) Norma Shearer's noisy brother. In: American 123, May 1937, pp. 26-27.

•         Account of sound engineer Douglas Shearer and the problems and techniques in making a sound picture.

Becker, Karl Heinz (1938) Das Problem des plastischen Tons im Film. Vortrag vor der Deutschen Kinotechnischen Gesellschaft. In: Kinotechnik, 5, 1938.

•         Also as separatum, Berlin: Max Hesse 1938, 8 pp.

Bednárova-Kenízová, K. (1979) Dabing ako spôsob prenosu jazykovej komunikácie. In: Panoráma 4,2, 1979, pp. 30-36.

•         On theoretical and practical problems of dubbing.

Beek, S. van (1984) Een symposium over geluid in Hollywood: Hoe maak je het geluid van een draak? In: Skoop 20,6, 1984, pp. 11-12.

•         Report of the Hollywood symposium "Film sound in the 80s or How to make your audience sit up and listen".

Beek, S. van / Proper, R.A.F. (1979) Is het geluid in Nederelandse films om aan te horen? Een onderzoek. In: Skoop 15,1, 1979, pp. 40-44.

•         Description of the postsynchronization procedure of the Dutch film Een Vrouw als Eva; includes a selection of comments from Dutch film-makers about their experiences with sound.

Beese, Henriette (1977) Notizen zum Tönenden am Film. In: Filmkritik, 252, 1977, pp. 615-619.

Begum, S.J. (1949 Magnetic recording. 1949.

Beijerinck, F.H. (1933) Die Entwicklung der Tonfilmindustrie. Ein Beitrag zur Weltelektrovertrustung. Diss. Bern 1933.

Beilby, P. (1974) Peter Fenton: mixer. In: Cinema Papers, July 1974, pp. 254-257.

•         Australian sound mixer Fenton talks about mixing sound for feature films.

Bell, Monta (1928) Movies and talkies. In: North American Review 226, Oct. 1928, pp. 429-435.

Bell, Monta (1929) The director: his problems and qualifications. In: Theatre Arts Monthly 13, Sept. 1929, pp. 645-649.

Bell, Monta (1930) Directing sound pictures. In: Revolt in the arts. Ed. by Oliver M. Saylor. New York: Brentano's 1930, pp. 231-233.

•         Notes on the early days of the sound film by the director of The Bellamy Trial (1929). Discusses the effect of sound on the established film favorites of the silent days.

Belton, John (1985) The technology and aesthetics of film sound. In: Weis & Belton 1985, pp. 63-72.

Berg, Charles M. (1975) The human voice and the silent cinema. In: Journal of Popular Film 4,2, 1975, pp. 165-177.

Berg-Ganschow, Uta (1992) Deutsch, englisch, französisch. In: Wolfgang Jacobsen (Hrsg.): Babelsberg: Ein Filmstudio 1912-1992. Berlin: Argon 1992, S. 169-174 (Stiftung Deutsche Kinemathek / Internationale Filmfestspiele Berlin. Retrospektive 1992.).

•         Über verschiedensprachige Versionen von frühen Tonfilmen.

Bergala, Alain (1984) Les mouettes du pont d'Austerlitz. In: Cahiers du Cinéma, 355, 1984, pp. 12-17.

•         Sound engineer François Musy talks about the technical and aesthetical problems creating the track for Prénom Carmen.

Bergala, Alain / et alii (1978) Entretien avec Jean-Pierre Beauviala. In: Cahiers du Cinéma 285, 1978, pp. 8-15.

•         Especially on the production of a new camera with direct sound recording.

Bernds, Edward (1981) Flashback: The birth of the talkies. In: American Film 6,10, 1981, pp. 34, 36, 65.

•         Sound technician E.B. recalls the transition from silent to sound film.

Bernhart, José (1949) Traité de prise en son. Paris: Eyrolles 1949, 382 pp.

Betts, Ernest (1929) Ordeal by "talkie". In: Saturday Review (London) 148, 6. July 1929, pp. 7-8.

•         With special reference to Hitchcock's Blackmail (1929).

Betts, Ernest (1929) Going talkie. In: Close Up (London) 5, Oct. 1929, pp. 272-277.

•         Exceptional examples of successful synchronization are Alfred Hitchcock's Blackmail (1929) and The Crimson Pirate (Großbritannien 1929).

Betts, Ernest (1929) Why "talkies" are unsound. In: Close Up (London) 4, April 1919, pp. 22-24.

•         The true function of cinema is visual representation.

Betts, Ernest (1930) All-talking, all-singing, all-nothing. In: Close Up (London) 6, June 1930, pp. 449-454.

Beyfuss, Edgar (1929) Tonfilm oder stummer Film? In: Film und Volk, 8, Okt. 1929.

Beylie, Claude (1980) Jean Renoir face au cinéma parlant. In: L'Avant-Scène Cinéma, 251-252, 1980, pp. 5-19.

•         Even in his silent films, Renoir's work was full of aural suggestion, especially in TIR AU FLANC. A variety of uses of sound in his sound films. Beylie sees almost Brechtian (ironic) function of songs and music in renoir's dramaturgy.

Bigbee, Lynn (1970) Basic elements of sound recording. In: Filmmakers Newsletter 3,12, 1970, pp. 36-42.

Binné, Ingrid (1932) Tonfilm auf dem Ozeanriesen. In: Filmkurier, 17.11.1932.

Biocca, Frank A. (1988) The pursuit of sound: Radio, perception, and utopia in the early 20th century. In: Media, Culture, and Society 10,1, 1988, pp. 61-79.

Birrell, Francis (1933) How much of sound picture should be talk? In: International Review of Educational Cinematography (Roma) 5, Feb. 1933, pp. 138-141.

•         The tempo of the talkie is governed by sound. Praising Chaplin, Keaton, Disney, Clair, and Mamoulian for their realization of this principle.

Blake, Larry (1984) Film Sound Today. Hollywood: Reveille Press.

Blakely, Richard (1984) Teaching film with blinders on: the importance of knowing the language. In: ADFL Bulletin 16,1, 1984, pp. 42-47.

Blakeston, Oswell (1947) Synthetic stars. In: Sight and Sound 16, 64, 1947-48, p. 158.

•         Positive case for dubbing foreign-made films.

•         Comment by Walter Summers, "No! Mr. Blakeston". In: Sight and Sound 17,65, 1948, pp. 14-15.

Bleyer Brody, Agnes (1965) Das Wort und die Sprache des Bildes. In: Sprache im technischen Zeitalter, 13, 1965, pp. 1030-1033.

Block, Ralph (1929) Hare and hounds in Hollywood. In: Vanity Fair 32, July 1929, pp. 61, 90.

•         Condemns the talkie's servile imitation of the stage and advocates terse dialog, improved synchronization, and the proper utilization of silence.

Blocker, J. (1984) Synthesized sound for Brainstorm. In: American Cinematographer 65,5, 1984, pp. 95-98.

•         Discusses the art and technology behind the Brain­storm sound design created by Frank Serafine.

Bobrow, Andrew C. (1974) The art of soundman: an interview with Christopher Newman. In: Filmmakers Newsletter 7,7, 1974, pp. 24-28.

Bock, Andreas (1994) Nachsynchronisation, nonverbale Kommunikation und Béla Balázs: Vorüberlegungen für die Analyse. In: 6. Film- und Fernsehwissenschaftliches Kolloquium / Berlin '93. Hrsg. v. Jörg Frieß, Stephen Lowry & Hans J. Wulff. Berlin: Gesellschaft für Theorie und Geschichte audiovisueller Kommunikation 1994.

Bodanzky, Jorge (1978) O som e o 16mm. In: Filme Cultura 28, Feb. 1978, pp. 45-48.

•         Brazilian film director Bodanzky discusses the problems of sound in 16mm production.

Böhm, Hans (1926) Der tönende Film. In: Kinotechnik, 10.12.1926, pp. 592‑595.

Böhm, Hans (1933) Marksteine der deutschen Tonfilm­geschichte. In: Kinotechnik, 16, 20.8.1933. pp. 259-260.

Bolognese, G.A. (1979) Semiotics "ante litteram": Notes on Pirandello's reactions to sound film. In: A semiotic landscape. Ed. by Seymour Chatman, Umberto Eco [...]. Den Haag: Mouton 1979, pp. 837-841.

Bolten‑Baeckers, Heinrich (1932) Das Ton­film‑Monopol. In: Filmkurier, 2.2.1932.

Bond, Ralph (1930) Dovjenko on the sound film. In: Close Up (London) 7, Oct. 1930, pp. 273-275.

•         Interview. Excessive stress on dialogue renders the film slow and non-dynamic. Asserts that the uses of silence, expressive sounds of nature, integral music, and the combination of visible and audible montage are problems receiving careful consideration in Soviet cinema.

Bonica, Joe (comp.) (1930) How talkies are made. Hollywood, Cal.: Bonica 1930, 36 pp.

Bonitzer, Pascal (1975) Les silences de la voix. In: Cahiers du Ciné, 256, 1975, pp. 22-33.

•         Repr., with revisions, in Pascal Bonitzer's Le regard et la voix. Paris: Union Général d'Editions 1976.

•         [Engl.:] The silences of the voice. (A propos of Mai 68 by Gudie Lawaetz). In: Rosen 1986, pp. 319-334.

•         The voice-over and off-screen voice: "impression of knowledge", power, point of view. Tendency to eliminate voice-over in recent political documentary - the "new silence" - is distressing since the film thereby conceals its own work and posits itself as a voice without a subject.

Bonsiepe, Gui (1965) Visuell-verbale Rhetorik. Ulm: Ebner 1965.

Boost, Charles (1981) 1926 - een tijdbom onder de Amerikaanse filmproduktie. In: Skoop 18,1, 1981, pp. 44-45.

•         Brief history of the introduction of sound to American film industry.

Boost, Charles (1982) 1929 - Charles Boost versus Menno ter Braak. In: Skoop 18,2, 1982, p. 35.

•         Survey of a discussion in the Dutch film periodical "Filmliga" in the late 1920's on the introduction of sound in films.

Borchardt, Kurt (1931) Der Nadeltonfilm. Mit 32 Abb. Halle: Knapp [1931], iv, 51 pp. (Bücher der Lichtspielvorführer. 10.).

Bordwell, David & Thompson, Kristin (1979) Sound in the cinema. In Their Film art: An introducti. Reading, Mass.: Addison-Wesley 1979, pp. 189-219.

•         [Repr.:] Fundamental aesthetics of sound in the cinema. In: Weis & Belton 1985, pp. 181-199.

•         Outline of the dimensions of film sound: physical, spatial, temporal.

Borges, J.L. (1973) Sul doppiaggio. In: Filmcritica 24,238-240, 1973, p. 286.

•         O dubbingu. In: Kino 11,9, Sept. 1976, p. 34.

•         See Waldman, G. / Christ, R.: Borges as film critic. In: Sight and Sound 45,4, Autumn 1976, pp. 230-233.

•         Borges' views on dubbing; translated from Sur.

Bornemann, Ernest J. (1934) Sound rhythm and the film. In: Sight and Sound 3,10, 1934, pp. 65-67.

•         Experiments on sound montage.

Borwick, John (comp.) (1963) Sound: facts and figures. 1963.

Borwick, John (ed.) (1976) Sound recording practice: A handbook. Comp. by the Association of Professional Recording Studios. : Oxford University Press 1976, 440 pp.

Boudreault, J.-C. (1976) Jos Champagne, 35 ans de son. In: Cinéma Québec 5,4, 1976, pp. 10-13.

•         The experience of the Quebec sound recordist Jos Champagne.

Bourget, Jean-Loup (1991) Chaplin and the resistance to "talkies". In: Charlie Chaplin: His reflection in modern times. [...] Ed. by Adolphe C. Nysenholc. Berlin: Mouton de Gruyter 1991, pp. 3-10.

Boyd, Ernest A. (1928) Talkie, talkie. In: Bookman 68, Sept. 1928, pp. 72-74.

•         Enthusiastic appraisal of the possibilities of sound.

Bragaglia, Anton-Giulio (1931) Cinema and theatre. In: International Review of Educational Cinematography (Roma) 3, Jan 1931, pp. 11-23.

Brakhage, Stanley (1960) The silent sound sense. In: Film Culture, 21, 1960, pp. 65-67.

Branigan, Edward (1989) Sound and Epistemology in Film. In: The Journal of Aesthetics and Art Criticism. 47,4.

Bratke (1937) Wir beherrschen den Schall. 10 Jahre Ela‑Technik. In: Telefunken‑Kamerad (Werkzeitschrift der Firmen Telefunken/Klangfilm/ Telefunkenplatte), 1, 1937. pp. 2‑7.

Braun, B. Vivian (1933) Towards true cinema: film-form the question of sound. In: Film Art (London) 1, Summer 1933, pp. 3-5.

•         Deplores the deterioriation of the narrative capacities of visual imagery in the sound film.

Braver-Mann, Barnet G. (1930) The dialog film. In: Film Spectator (Hollywood) 1, 12. April 1930, pp. 28-31.

Bresson, Robert (1977) Notes on cinematography. New York: Urizen Books 1977.

•         [Excerpts:] Notes on sound. In: Weis & Belton 1985, p. 149.

•         Rhythmic qualities, relations to image and to narration, perception.

Briggs, G.A. (1949) Sound reproduction. 1949.

•         2nd ed. 1950.

Brinckmann, Christine Noll (1986) Der Voice-Over als subjektivisierende Erzählstruktur des Film Noir. In: Narrativität in den Medien. Hrsg. v. Rolf Klöpfer & Karl-Dietmar Möller. Münster: MAkS Publikationen, pp. 101-118 (Papmaks. 19.).

British Kinematograph Sound and Television Society (NKSTS) (1976) Sound from microphone to ear. London: NKSTS 1976, various pagings.

British Kinematograph Sound and Television Society (NKSTS) (1983) (ed.) Dictionary of audio-visual terms. London: NKSTS 1983, iv, 138 pp.

Broich, F. von (1930) Tonfilm und Industrie. In: Filmkurier v. 11.1.1930.

Brouwer, Alexandra / Wright, Thomas Lee (1990) Working in Hollywood. NewYork: Crown Publishing.

•         Contains interwievs with production sound mixer Jim Webb, boom operator Forrest Williams, supervising sound editor Cecilia Hall, recording mixer Robert "Buzz" Knudsdson, music editor Richard Stone, and scoring mixer Dan Wallin.

Brown, Ivor (1929) The theatre: to talk or not to talk? In: Saturday Review (London) 148, 7. Sept. 1929, pp. 268-269.

Brown, Bernard (1931) Talking pictures: A practical and popular account of the principles of construction and operation of the apparatus used in making and showing sound films. London: Pitman 1931, 306 pp.

•         2nd ed. London: Pitman 1932, 309 pp.

•         See especially ch. 12, Conclusion: considers the new fields of social usefulness opened to the motion picture by the sound film.

Brown, Bernard (1933) Amateur talking pictures and recording. 1933.

Browne, Nick (1980) Film form / voice-over: Bresson's The Diary of a Country Priest. In: Yale French Studies, 60, 1980, pp. 233-240.

•         Analysis of authority of tense, voice-over, images; relationships among the film's dramatic "I", narrative "I", and camera.

Buchanan, Andrew (1932) The birth of a notion. In His: Films: The way of the cinema. London: Pitman 1932, pp. 58-76.

Buhov, L. (1981) V poiskah zvukovoj dostovernosti. In: Iskusstvo Kino 3, March 1981, pp. 85-89.

•         The role of sound in cinema.

Burch, Noel (1973) On the structural use of sound. In His Theory of film practie. New York: Praeger 1973, pp. 90-104.

•         Repr. in: Weis & Belton 1985, pp. 200-209.

•         At first in his Praxis du cinéma. Paris: Ed. Gallimard 1969.

•         Delineates parameters of structural interactions between auditory and visual space. Advocates integrating music, sound effects, speech into a single sound texture for organic film structure.

Burroughs, Lou (1974) Microphones: Design and application. Ed. by John Woram. Plainview, N.Y.: Sagamore Publ. 1974, 260 pp.

Burt, W. (1981) On the relation of sound and image in Moods. In: Cantrill's Filmnotes, 35-36, 1981, pp. 56-64.

•         W.B. discusses his series Moods.

Buscombe, Edward (1978) Sound and color. In: Jump Cut, 17, 1978, pp. 23-25.

•         Repr. in: Nichols 1985, pp. 83-91.

•         The relationships between technological innovations, economics and ideology which contributed to the development and acceptance of sound and color in films. Includes criticism of Gomery's approach.

Buskin, Richard (1997) Power and Corruption. In: Studio Sound, July 1997.

•         Dialogue Editor Albert Lord tells about Turbo: A Power Rangers Movie, post‑production sound.

Buskin, Richard (1997) Star Trek. In: Studio Sound, Aug 1997.

•         Production Sound in The Next Generation, Deep Space Nine, and Voyager series.

Buskin, Richard (1997) Making Contact. In: Studio Sound, Sept. 1997.

•         Sound designer Randy Thom and dialogue rerecording mixer Tom Johnson talk about their post‑production sound in sci‑fi movie Contact.

Buskin, Richard (1997) Beach Party. In: Studio Sound, Oct. 1997.

•         The problems in capturing audio against a backdrop of surf and traffic in the Baywatch TV series, Production and Post Production sound.

Buskin, Richard (1998) Titanic. In: Studio Sound, Jan 1998.

•         Audio Post‑production.

Buskin, Richard (1998) Sounding out The Simpsons. In: Studio Sound, Feb 1998.

•         If The Simpsons is any indication, modern animation is ready to recognise the value of a soundtrack.

Buskin, Richard (1998) Sphere. In: Studio Sound, Mars 1998.

•         Sound Designer Richard Beggs talks about Sphere.

Buskin, Richard (1998) Lost in Space. In: Studio Sound, April 1998.

•         Audio Post‑production of the all‑digital Hollywood picture Lost in Space.

Buskin, Richard (1998) Soft shoe shuffle. In: Studio Sound, May 1998.

•         Jeff Payne talks about sound designing and mixing the Nike 'Suicide drills' advertisement in less than five hours.

Buskin, Richard (1999) The Prince of Egypt. In: Studio Sound, February 1999.

•         Audio Post‑production

Buskin, Richard (1999) Babe Pig in the city. In: Studio Sound, Jan. 1999.

•         Audio Post‑production; voicing animals' antics.

Buttmann, Patrick (#1998) Komponierte Emotion. Überlegungen zur Musik- und Mischdramaturgie. In: Revolver, 3, pp. 112-121.

C.H.B. (1955) Film-Synchronisation: Ihre Technik und Gestaltung. In: Film-Kino-Technik 9,5, 1955, pp. 152-153.

Caillé, P.-F. (1960) Cinéma et traduction: Le traducteur devant l'écran. In: Babel 6,3, 1960, pp. 103-109.

Callenbach, Ernest (1981) Cinema/sound. In: Film Quarterly 34,4, 1981, pp. 32-33.

•         Review of Yale Franch Studies, 60, 1980 (= spec. issue on "Film sound").

Calvert, S.L. / Gersh, T.L.  (1987) The selective use of sound effects and visual inserts for children's story comprehension. In: Journal of Applied Developmental Psychology 8,4, 1987, pp. 363-374.

Cameron, Evan William (ed.) (1980a) Sound and the cinema: The coming of sound to American film. Assisted by William F. Wilbert & Joan Evans-Cameron. Pleasantville, N.Y.: Redgrave 1980, 232 pp.

•         Reviewed by John Fell in: Film Quarterly 36,4, 1983, p. 60.

•         Historical essays (Fielding, Gomery, Noxon), testimonials (Capra, Mamoulian, Herrmann, Stewart), analytical essays (Fischer, Cameron).

Cameron, Evan William (1980b) Citizen Kane: The influence of radio drama on cinematic design. In: Cameron 1980a, pp. 202-216.

•         Outlines the film's "tactical innovations" and their relationships to the traditions of radio drama. Valuable discussion of principles of constructing acoustic space as developed in radio drama.

Cameron, Ken (1947) Sound and the documentary film. With a forew. by [Alberto] Cavalcanti. London: Pitman 1947, xv, 157 pp.

Cameron, James R. (1929) Motion pictures with sound. Manhattan Beach, N.Y.: Cameron 1929, 393 pp.

Cameron, James R. (1944) Servicing sound equipment, trouble-shooters manual, public-address systems. 5th ed. 1944.

Cameron, James R. (1947) Sound motion pictures, recording and reproducing. With chapters on motion picture studio and film laboratory practice. 6th ed. Coral Gables, Flor.: Cameron 1947, 617 pp.

Cameron, James R. (1959) Sound motion pictures. Coral Gables: Cameron Publishing Co. 1959.

Cameron, James R. / Cifre, Joseph S. (Comps.) (1959) Cameron's encyclopedia of sound motion pictures. [Cover title: Motion picture encyclopedia.] 6th ed. 1959.

Cameron, James R. / Rider, John F. (1930) Sound picture and trouble shooters manual. Manhattan Beach, N.Y.: Cameron 1930, 1120 pp.

•         Early guide to the practical management of sound films from the projectionist's point of view.

Camper, Fred (1985) Sound and silence in narrative and nonnarrative cinema. In: Weis & Belton 1985, pp. 369-382.

Canemaker, J. (1976) Animation journal. Woman of a thousand voices. In: Millemeter 4,4, 1976, pp. 42-43.

•         Interview.

Carb, David (1929) Stage and screen. In: Vogue 74, 12. Oct. 1929, pp. 101-103, 180.

•         Contrasting a Hollywood sound film with a stage musical.

Carb, David (1929) Talkies. In: Vogue 73, 22. June 1929, pp. 55, 104.

•         Compares talking and silent films, to the advantage of the latter, relegating the sound film to the fields of farce and melodrama.

Carey, Gary (1963) The music of sound. In: Seventh Art 1,2, 1963, pp. 6-7.

•         On Antonioni's use of sound and music.

Carroll, Noel (1978) Lang, Pabst, and sound. In: Ciné-Trac 2,1, 1978, pp. 15-23.

•         Lang and Pabst: Paradigms for early sound practice. In: Weis & Belton 1985, pp. 265-276.

•         Analysis of Lang's M as a "silent sound film", rooted in formative paradigm of montage and asynchronism, and Pabst's Kameradschaft, which, on the other hand, "presages the development of sound realism".

Carver, Francis (1929) The influence of sound on the cinema. In: Discovery (London) 10, March 1929, pp. 87-90.

•         Presents the editing of synchronized sound and action as a problem in the coordination of rhythms.

Causton, Bernard (1933) A conversation with René Clair. In: Sight and Sound 1, Winter 1933, pp. 111-112.

Cavalcanti, Alberto (1939) Sound in films. In: Films 1,1, Nov. 1939, pp. 25-39.

•         Repr. in: Jacobs 1979, pp. 170-186.

•         Repr. in: Weis & Belton 1985, pp. 98-111.

•         Principles and practice in the use of speech, music, and noise. "The picture is the medium of statement, the sound is the medium of suggestion."

Cavazutti, Enrico (1950) Problemi della registrazione sonora e del messaggio. In: Bianco e Nero 11,5-6, 1950, pp. 105-114.

Cavell, Stanley (1979) The acknowledgement of silence. In His The world viewed. Reflections on the ontology of film. Enl. ed. Cambridge, Mass./London: Harvard University Press 1979, pp. 146-160 (Harvard Paperback. 151.).

•         At first 1971.

•         Silence as a metaphor of the unsayable.

Chaplin, Charles Spencer (1931) In: New York Times, 25. Jan. 1931.

•         [Excerpts:] Wisdom from a wise man. In: Theatre Guild Magazine 8, March 1931, p. 7.

•         Statement about Chaplin's position on sound.

Chaplin, Charles Spencer (1936) The future of the silent picture. In: Windsor Magazine (London) 84, Sept. 1936, pp. 473-480.

Chapman, Raymond (1984) The treatment of sounds in language and literature. Oxford: Basil Blackwell 1984, 272 pp. (The Language Library.).

Charques, R.D. (1929) The future of talking films. In: Fortnightly Review (London) 126, July 1929, pp. 88-98.

•         Foresees the inevitability of sound.

Chateau, Dominique (1976) Projet pour une sémiologie des relations audio-visuelles dans le film. In: Musique en Jeu, 23, 1976, pp. 82-98.

•         Following Metz's lead, proposes fundamentals of semiology of sound in film. Establishing there are no grammatical criteria systematically governing audiovisual syntax (therefore giving equal status to Eisensteinian and Bazinian aesthetics), outlines new syntactic categories for sound-image realtions in cinema. Uses Robbe-Grillet's L'Homme qui ment as a "semiological laboratory".

Chavez, Carlos (1937) The sound film. In His Toward a new music: music and electricity. Transl. from the Spanish by Herbert Weinstock. New York: Norton 1937, pp. 89-121.

Chell, David (1987) Moviemakers at Work. Redmond, WA: Microsoft Press.

•         Contains interviews with production sound mixer Chris Newman and rerecording mixer Bill Varney.

Chesterman, A. (1978) Recording sound tracks for adventure films. In: American Cinematographer 59,3, 1978, pp. 262-263, 304-307.

•         Recording sound in difficult outdoor location situations.

Chevassu, François (1977) L'expression cinématographique: Les éléments du film et leurs fonctions. Paris: Lherminier 1977, 250 pp. (Cinéma Permanent.).

•         Sections on sound, noise, dialogue, and off-screen voice.

Chion, Michel (1981) Méconnaissance et fétichisme: le stade du mixage. In: Cahiers du Cinéma, 330, 1981, pp. ix-x.

•         The importance of the sound track and sound mixing.

Chion, Michel (1981) Le dernier mot du muet. In: Cahiers du Cinéma, 330, 1981, pp. 5-15.

•         Enquiry into muteness in the cinema. Part of the article is given to a study of the mime in Les Enfants du Paradise.

Chion, Michel (1982) Le regard de mixeur. In: Cahiers du Cinéma, 340, 1982, p. x-xi.

•         Sound mixer Jean Neny on the progress made in sound quality in french films.

Chion, Michel (1982) Chronique du son: Direct or not direct. In: Cahiers du Cinéma, 331, 1982, p. xi.

•         Postsynchronization by Fellini and others is colorful and imaginative, unlike recent French production.

Chion, Michel (1982) Le sens de l'ellipse. In: Cahiers du Cinéma, 341,1982, pp. x-xii.

•         Interview with Marie-Josephe Yoyotte. About the techniwues of sound editing in France.

Chion, Michel (1982) La voix au cinéma. Paris: Cahiers du Cinéma/Ed. de l'Etoile 1982.

•         Repr. 1993.

•         Reviewed by Michel Marie in: Iris 1,2, 1983, pp. 140-146.

•         Reviewed by F. Thomas in: Positif, 267, 1983, p. 78.

•         Engl.: The Voice in Cinema. New York: Columbia University Press 1998.

•         Rev.-Article: Gerwin van der Pol: Michel Chion's Blessing in Disguise. In: Film‑Philosophy 6,4, March 2002 [online].

•         Outlines a theory of the truly "talking" cinema. Psychoanalytic theory (Lacan, Denis Vasse) influences Chion's compelling emplacements of the voice in film. Privileges "voix acousmatiques" that are neither completely within, nor clearly outside the screen. Cinematic uses of telephone and other speaking machines, women's screams, mute characters; relates to structures of male fantasies of authority and control. Films extensively discussed: Sansho the Bailiff (the mother's voice); Psycho; Das Testament des Dr. Mabuse; India Song; Citizen Kane.

Chion, Michel (1983) Le mauvais oeil du son. In: Cahiers du Cinéma, 347, 1983, pp. xiii-xiv.

•         Interview with J.-C. Nicoux. About the quality of sound recording in France.

Chion, Michel (1983) Voix inouies? In: Cahiers du Cinéma, 343, 1983, p. xiii.

•         Special effects applied to human and synthesized voices, with the example of Tron and other films.

Chion, Michel (1985) Le son au cinéma. Paris: Ed. de l'Etoile 1985, 220 pp. (Coll. Essais.).

Chion, Michel (1988) La toile trouée. Paris: Ed. de l'Etoile 1988.

Chion, Michel (1990) L'audio-vision. Paris 1990.

•         Engl.: Audio-vision. Sound on screen. New York: Columbia University Press 1994, xxiv, 239 pp.

•         Excerpt: Projections of sound on image. In: Film and theory: An anthology. Ed. by Robert Stam and Toby Miller. Malden, Mass./Oxford: Blackwell 2000, pp. 111-124.

•         Rev.-Article: Kristi McKim:  Impassioned Aesthetics. Seeing Sound and Hearing Images in Michel Chion's Audio‑Vision. In: Film‑Philosophy 6,5, March 2002 [online].

Chittock, John (1962) How to produce magnetic sound for films. 1962.

Christian, J. (1974) The sound effects. In: American Cinematographer 55,11, 1974, p. 1314.

•         Christian was special effects supervisor on Earth­quake.

Christie, I. (1982) Soviet cinema: making sense of sound. In: Screen 23,2, 1982, pp. 34-49.

•         In Soviet cinema's early experiments with sound, and the problems encountered.

Cinématographe 47-48, 1979: Dossier "Du muet au parlant"

Clair, René (1934) Cinema review. In: Europa 1, June 1934, pp. 12-13.

•         In the deterioration of cinematic art occasioned by the advent of sound.

Clair, René (1947) Filme zwischen Bild und Ton. In: Die Quelle. Zeitschrift für Theater, Musik und Tanz 1,3, 1947, pp.

Clair, René (1972) Cinema yesterday and today. Ed. by R.C. Dale. New York: Dover 1972.

•         New edition of materials written from the 1920s to 1970. Abundant material on sound.

Clair, René (1985) The art of sound. In: Weis & Belton 1985, pp. 92-95.

Clancey, Vernon J. (1929) Squeals and silence. In: Realist (London) 2, Dec. 1929, pp. 418-432.

•         A survey of the artistic possibilities inherent in three methodologies of synchronization: literal, unedited recording; the purposeful control of sound, allowing the cinematic form greater freedom; and the use of sound as expressionist accompaniment of visual images, as developed by the Russian school.

Clayton, Bertram (1929) Talking pictures. In: Nineteenth Century (London) 105, June 1929, pp. 820-827.

•         On the aesthetical and technical possibilities of the sound film.

Cohen, John S. (1929) This year of sound: 1928-29 on Broadway. In: Theatre Arts Monthly 13, Sept. 1929, pp. 650-655.

Collet, Jean (1972) An audacious experiment: The soundtrack of Vivre sa Vie. In: Focus on Godard. Ed. by Royal S. Brown. Englewood Cliffs, N.J.: Prentice-Hall 1972, pp. 160-162.

•         irect recording on location, on a single track, with no editing, little mixing beyond music.

Collins, William (1974) The amateur filmmaker's handbook of sound sync and scoring. Blue Ridge Summit, Penn.: Tab Books 1974.

Comolli, Jean-Louis (1971) Technique et idéologie. 5. Effacement de la profondeur. Avènement de la parole. In: Cahiers du Cinéma, 234-235, 1971/72, pp. 94-100.

•         Rejects "technicist" explanation of coming of sound and related technological changes, stressing changes in production/consumption of the reality-effect. Sound brought depth to the image, which temporarily obviated ideological demand for deep space.

Comolli, Jean-Louis (1972) Technique et idéologie. 6. Quelle parole? In: Cahiers du Cinéma, 241, 1972, pp. 20-24.

•         What factors determined the specific forms of the talking film? Interrelationships of economic and ideological determinations (e.g. Hollywood's response to the crash with escapist musicals, and social problem films whose bourgeois humanist ideology recuperates "problems"). Speech in film ensures and reinforces idea of individual as hero of the fiction. The space of continuity editing is the space of dialogue.

Comuzio, Ermanno (1979) Colonna sonora. Dialoghi, musiche, rumori dietro lo schermo. Roma: 1979.

Cook, Pam (1979) The sound track. In: Films in Review 29,1, 1978, pp. 37-39, 42.

•         Brief history of some of the technical advancements in sound recording for films.

Cooke, Alistair / Cavalcanti, Alberto (1935) The sound film. In: Intercine (Roma) 7, Aug. 1935, pp. 153-159.

•         Discussion on sound film.

Cornwell, Regina (1978) Study of Michael Snow's Rameau‘s Nephew. In: Afterimage, 7, 1978.

Cousins, E.G. (1932) Filmland in ferment. London: Archer 1932, [ch. 11: Sound and sense] pp. 103-110, [ch. 12: The talk in "talkie"] 111-116.

Cowan, Lester (ed.) (1931) Recording sound for motion pictures. New York: McGraw-Hill 1931.

•         Lectures on sound recording technology, presented at the Academy of Motion Picture Arts and Sciences School in Sound Fundamentals. About sound recording equipment (Vitaphone, Photophone, Movietone), studio acoustics and recording techniques, and sound reproduction in the theater.

Craig, G.D. (1956) A comparison between silent and sound films in teaching. In: British Journal of Educational Psychology 26, 1956, pp. 200-206.

Crawford, Merritt (1939) Some accomplishments of Eugene Augustin Lauste - pioneer sound-film inventor. In: Journal of the SMPE 16, 1931.

•         Repr. in: Fielding 1967, pp. 172-173.

Cricks, R. Howard (1943) The complete projectionist. 3rd ed. 1943.

•         4th ed. 1949.

Crocker, Lester G. / Cardellach, Guardiola E. (1948) Movie dubbing? Does redialogued film aid world understanding? In: Rotarian 72, May 1948, pp. 22-24.

•         Debate about point of view of Latin America.

Cruikshank, Herbert Knight (1928) From fad to worse. That's what Herbert Brenon thinks of the trend the talkies signify. In: Motion Picture Classic 28, Nov. 1928, p. 76.

Cuel, F. et alii (1979) Dossier: Du muet au parlant. In: Cinématographe 47, 1979, pp. 2-27.

•         Articles on the effect which the coming of sound had upon styles, acting, etc.

Cumbow, R.C. (1975) Morricone encomium. In: Movietone News 40, 1975, pp. 22-26.

•         On Morricone's use of music and sound in Leone's westerns.

Cushman, G.W. (1958) Sound for your color movies. New York: Amphoto 1958.

Dahlgren, Reinhold (1932) Tonfilmwiedergabe. Mit 44 Abb. Berlin: Union Deutscher Verlagsgesellschaften 1932, 55 pp.

Dale, Edgar (1935) Sound and music. In: How to appreciate motion pictures. London: Macmillan 1935, pp. 171-179.

Dancyger, Ken (1993) The technique of film and video editing. Boston: Focal Press.

•         Includes "The Early Sound Film" (pp. 39‑52), "Ideas and Sound" (pp. 243‑252), "The Sound Edit and Clarity" (pp. 227‑295).

Daney, Serge (1977) L'orgue et l'aspirateur. In: Cahiers du Cinéma, 279-280, 1977, pp. 19-27.

•         Psychoanalytic approach to the voice in Bresson's Le Diable probablement.

Dästner, Carola (1999) Ton und Musik im Filmapparat. Filmtheorie und Ton - jenseits von Comolli, Baudry und Metz. In: ZMM News (Hamburg: Zentrum für Medien und Medienkultur, WS 1999/2000, pp. 23-28.

Davy, Charles (1934) Is there a future for the talkies? In: Bookman (London) 86, Aug. 1934, p. 248.

•         Holds that dialog should be reduced to a minimum.

Dazat, O. (1985) Métier du cinéma: Bruits. In: Cinématographe 114, Dec. 1985, pp. 56-57.

•         Interview with sound man Jerôme Levy.

De Forest, Lee

see DeForrest, Lee

Dean, Basil (1929) Talking pictures. In: Nineteenth Century and After (London) 106, Dec. 1929, pp. 823-827.

•         Poses the problem of integrating the best visual and narrative qualities of the silent cinema with music and dialogue.

Debries, Erwin (1930) Artistic problems of the sound films. In: International Review of Educational Cinematography (Rome) 2, April 1930, pp. 399-403.

•         On the increasing importance of the musical director created by the coming of sound. Also discusses changes in acting.

DeForrest, Lee (1924) Pictures that talk. In: Photoplay, July 1924, pp. 78-79.

•         Repr. in: Mast 1982.

DeForrest, Lee (1929) The motion picture learns to talk. In: National Board of Review Magazine 4,7-9, March 1929, pp. 12-14, 23.

•         Traces the role of the author's audio amplifier in the development of the sound film, and outlines the principle systems of recording sound on film; cites the gains in realistic and emotional effectiveness conferred by sound upon the animated cartoon, the newsreel, the educational and the scenic film.

DeMille, William Churchill (1929) The screen speaks. In: Scribner's 85, April 1929, pp. 367-373.

•         Discusses the changes effected by sound film in the requirements for actors and studio equipment.

Denbo, Doris (1931) He's the big noise behind the talkies. In: American 111, 31.6.1931, p. 82.

•         At first in: Literary Digest 105, 28.6.1930, p. 37.

•         Profile of Count Cutelli, sound-effect artist for Disney and others.

Denk, Rudolf (1978) Texte zur Poetik des Films. Stuttgart: Reclam 1978, 188 pp. (Arbeitstexte für den Unterricht.)/(Reclams Universal-Bibliothek. 9541.).

•         Includes Polgar 1929; Piscator 1968.

Deslaw, Eugène (1931) My first sound film. In: Close up (London) 8, March 1931, pp. 61-62.

•         Description of Deslaw's endeavor to integrate lyrical and psychological factors in the use of sound in his Le Monde en Parade (1931).

Dickinson, Thorold (1965) Von der Vorherrschaft des Bildes. In: Sprache im technischen Zeitalter, 13, 1965, pp. 1069-1073.

Dirschel, Klaus (19**) "Cent pour-cent parlant" oder wie der französische Tonfilm der 30er Jahre die Wirklichkeit suchte und das Thetaer fand. In: Materialität der Kommunikation. Hrsg. v. Hans Ulrich Gumbrecht & K. Ludwig Pfeiffer. Unter Mitarb. v. Monika Elsner [...]. Frankfurt: Suhrkamp 19**, pp. 377-391,

•         On some reflexive motifs of French sound films of the 30s.

Dittmar, Linda (1985) Dislocated utterances: The filmic coding of verbal difference. In: Iris 3,1, 1985, pp. 91-98.

Doane, Mary Ann (1980a) Ideology and practice of sound editing and mixing. In: Lauretis & Heath 1980, pp. 47-56.

•         Responses by Jean-Louis Comolli, Peter Wollen and Douglas Gomery, pp. 57-60.

•         Repr. [of the article] in: Weis & Belton 1985, pp. 54-62.

•         Ideological study of dominant sound practices examined in relation to a certain structure of oppositions which split 'knowledge' within bourgeois ideology (intellect and emotion, the intelligible and the sensible, reason and intuition).

Doane, Mary Ann (1980b) The voice in the cinema. The articulation of body and space. In: Yale French Studies, 60, 1980, pp. 33-50.

•         Repr. in Weis & Belton 1985, pp. 162-176.

•         Repr. in: Movies and methods. 2. Ed. By Bill Nichols. Berkeley, Cal. [...]: University of California Press 1985, pp. 565-575.

•         Repr. in: Rosen 1986, pp. 335-348.

•         Psychoanalytic approach to how the cinema's fantasmatic body (the point of identification for the subject it addresses) acts as a pivot for certain cinematic processes of representation and authorizes and sustains a limited number of relationships between voice and image.

Doolittle, Hilda (1927) The mask and the Movietone. In: Close up (London) 1, Nov. 1927, pp. 18-31.

Dovjenko, A. (1956) Le parole dans le scénario. In: Cinéma (Paris) 3, 1956.

Doyle, George R. (1936) The talking film and its problems. In his Twenty-five years of film. London: The Mitre Press 1936, pp. 263-268.

Doyle, R.O. (1975) Super-8 sync sound recorders. In: American Cinematographer 56,11, Nov. 1975, pp. 1264-1265, 1318, 1328-1333.

•         Discusses various sound recorders which can be synchronized with Super-8 cameras.

Doyle, R.O. (1975) The need for sync sound standards for Super-8. In: American Cinematographer 56,11, Nov. 1975, pp. 1292-1293.

Dreher, Carl (1931) Recording, re-recording and editing of sound. In: Journal of the SMPE 14,6, June 1931, pp. 756-765.

Dreyer-Sfard, Regine (1965) Die Verflechtung von Sprache und Bild. In: Sprache im technischen Zeitalter, 13, 1965, pp. 1034-1039.

Ducom, Jacques (1931) La cinématographie sonore. Paris: Albin Michel 1931.

Dupont, E.A. (1931) Die Geburtsstätten des Tonfilms. In: Die Woche, 27, 4.7.1931.

•         Spec. issue on the coming of sound.

Dustmann, Friedrich Wilhelm (1930) Neue bewegliche Aufnahme‑Geräte der Klangfilm G.m.b.H. In: Kinotechnik v. 5.6.1930. pp. 308‑310.

Dworkin, S. / Holden, A. (1959) An experimental evaluation of sound filmstrips vs. classroom lectures. In: Journal of the SMPE 68, 1959, pp. 383-385.

Eggert, J. / Schmidt, R. (1932 Einführung in die Tonphotographie. Photographische Grundlagen der Lichtton-Aufzeichnung. [Wissenschaftliches Zentral-Laboratorium d. photograph. Abt. d. I.G. Farbenindustrie, Agfa.] Leipzig: Hirzel 1932, vi, 137 pp.

Eisenstein, Sergei M. / Pudovkin, Vsevolod / Alexandrov, Grigori V. (1928) The sound film: a statement from the U.S.S.R. In: Close Up (London) 3, Oct. 1928, pp. 10-13.

•         Statement on the sound film. In Eisenstein's Film form. New York: Harcourt, Brace 1949, pp. 257-260. Repr. New York: Dobson 1963. Other ed.: New York: Meridian Books 1957.

•         A statement. In: Weis & Belton 1985, pp. 83-85.

•         [German:] Manifest zum Tonfilm. In: Materialien zur Theorie des Films. Ästhetik - Soziologie - Politik. Hrsg. v. Dieter Prokop. München: Hanser 1971, pp. 83-85.

•         Repr. in: Texte zur Theorie des Films. Hrsg. v. Franz-Josef Albersmeier. Stuttgart: Reclam 1979, pp. 42-45 (Reclams Universal-Bibliothek. 9943.).

•         Manifesto on the necessity for asynchronism and counterpoint in sound film, in accord with montage theory.

Eisenstein, Sergei Mikhailovich (1930) The fourth dimension in the kino. In: Close Up (London) 6, March 1930, pp. 184-194; 6, April 1930, pp. 253-268.

Eisenstein, Sergei Mikhailovich (1975) Synchronization of senses. In His The film sense. New York: Harcourt, Brace, & World 1975, pp. 69-109.

•         Carries montage theory over into sound film, beginning necessary "analysis of the nature of audio-visual phenomena", including the concept of vertical montage.

Elie, Eva (1932) Dubbing. In: International Review of Educational Cinematography (Rome) 4, Oct. 1932, pp. 764-766.

•         On the question of foreign-language versions with re-synchronized speech.

Elliott, Walter G. (1935) Hisses from the devil's workshop. In: The silver streak: A screen play. By Roger Whately, Jack O'Donneell & H.W. Hanemann. Los Angeles: Haskell-Travers 1935, pp. 221-224.

•         Reveals the unusual and technical exacting requirements imposed by the sound effects in RKO's The Silver Strike (1934) and the resulting synchronization of six separate recordings on the sound track.

Elliott, W.F. (1937) Sound-recording for films: A review of modern methods. London: Pitman 1937, 134 pp.

Ellit, Jack (1935) On sound. In: Life and Letters Today (London) 13, Dec. 1935, pp. 182-184.

•         Predicts that the technology of recorded sound will create its own aesthetic.

Elsaesser, Thomas / Wedel, Michael (1996) The hollow heart of Hollywood: Sound space in Apocalypse Now. In: Conrad on film. Ed. by Gene Moore. New York/London: Oxford University Press.

Ende, W. (1930) Der Film als Forschungsmittel der Technik. In: Petersen 1930, 20 pp.

Engl, Joseph (1927) Der tönende Film. Das Triergon-Verfahren und seine Anwendungsmöglichkeiten. Mit 59 Abb. Braunschweig: Vieweg 1927, v, 98 pp. (Sammlung Vieweg. 89.).

•         See Massolle, Vogt & Engl 1924.

Epstein, Jean (1955) Slow-motion sound. In: Jean Epstein, 1897-1953. Ed. by Bachmann. New York 1955, p. 44 (Cinemages. 2.).

•         Repr. in: Weis & Belton 1985, pp. 143-144.

•         [French:] [?]. In Epstein's Ecrits. 2. Paris: Ed. Seghers 1975.

Erdelyi, G. (1975) In: American Cinematographer 57,3, March 1976, pp. 306-308, 342-343.

•         Describes a new stereo optical sound system for motion pictures devised in Hungary.

Erdmann, Hans (1931) Der Synchrongötze. In: Filmtechnik v. 24.1.1931. pp. 10ff.

Erens, Patricia (1975) Patterns of sound (Citizen Kane). In: Film Reader 1, 1975, pp. 40-49.

•         Describes three kinds of overarching sound codes at play in Kane: (1) qualities of the voice track as texture, rhythm, intonation, etc.; (2) semantics and syntax of spoken language; (3) sound-image (spatial) relations.

Ervine, St. John (1929) The talkie-talkies. In: Spectator (London) 142, 4.5.1929, pp. 681-682.

•         On changes in acting; with references to the lang­uage difficulty involved in foreign distribution.

Evans, Mark (1975) Soundtrack: The music of the movies. Drawings of composers by Marc Nadel. New York: Hopkinson & Blake 1975, 303 pp. (Cinema Studies Series.).

Eyman, Scott (1997) The speed of sound: Holywood and the talkie revolution 1926-1930. New York: Simon and Schuster 1997, 413 pp.

F-K (1932) Der gute Ton im Lichtspielhaus. Der technische Ratgeber für Tonfilm-Theater. Hrsg. v. "Filmkurier". Mit Abb. Berlin: Filmkurier 1932, 134 pp.

Falkenberg, Paul (1961) Sound montage: A propos de Ruttmann. In: Film Culture 22-23, 1961, pp. 59-62.

•         [German:] Tonmontage. A propos Ruttmann. In: Goergen 1990, pp. 57-58.

Fano, Michel (1964) Vers une dialectique du film sonore. In: Cahiers du Cinéma 152, 1964, pp. 30-36.

•         Advocates musical structuration of entire sound track. Dialogue and effects will share both informational and poetic functions. Examines "morphological, syntactic, and dialectic" possibilities cinema offers to the composer.

Fano, Michel (1974) L'attitude musicale dans "Glissements progressifs du plaisir". In: Ça 1,3, 1974, pp. 20-22.

Fano, Michel (1975) Film, partition sonore. In: Musique en Jeu 21, 1975, pp. 10-13.

Fano, Michel (1976) L'ordre musical chez Alain Robbe-Grillet. Le discours sonore dans ses films. In: Robbe-Grillet. Colloque de Cérisy. 1. Paris: Union Générale d'Editions 1976, pp. 173-213 (Coll. 10/18.).

Fano, Michel (1980) Entretien sur le son et le sens. In: Ça/Ciné­ma, 18, 1980, pp. 5-17.

Fano, Michel (1981) Le son et le sens. (Interventions.) In: Cinémas de la modernité: films, théories. Ed. par Dominique Chateau, André Gardies & François Jost. Paris: Klincksieck 1981, pp. 105-122.

Farcy, Jean / Houlbert, Jean-Michel (1978) Introduction au cinéma super-8 sonore professionel. Paris: Dujarric 1978, 111 pp.

Fawell, John (1990) Sound and Silence, Image and Invisibility in Jacques Tati's Mon Oncle. In: Film Quarterly, 0ct. 1990, pp 221‑229.

Feiss, M. (1949) Ein Film wird vertont. Genf: Meister 1949.

Fejos, Paul (1929) Illusion on the screen. In: National Board of Review Magazine 4, June 1929, pp. 3-4.

•         A contention by the Hungarian director that the future of the sound film depends on the use of story material consistent with sound technique and with accurate representation of American life.

Felter, Klaus (1982) Canon Tonfilmpraxis. Der Weg zum richtigen Ton im Hobbyfilm. Herrsching, Ammersee: vwi-Vlg. [1982], 35 pp.

Field, Mary / Smith, F. Percy (1934) Sound. In Their Secrets of nature. London: Faber & Faber 1934, pp. 209-229.

•         Emphasizes the necessity of limiting oral commentary in instructional films to informative briefs which stress action and advance continuity without distracting attention from the visual image. Discusses the advantages of precise synchronization of word and image as opposed to timing which permits the sound track to anticipate the picture.

Fielding, Raymond (ed.) (1967) A technological history of motion pictures and television. An anthology from the pages the the "Journal of the SMPTE". Berkeley, Cal./Los Angeles, Cal.: University of California Press 1967.

•         Includes articles by Kellogg, McCullough und Aiken.

Filmkritik, 11-12, 1981.

Fischer, Fritz (1929) Die Klangfilm‑Apparaturen. In: Filmtechnik v. 3.8.1929, pp. 350-351.

Fischer, Fritz / Lichte, H. (1931) Tonfilm. Aufnahme und Wiedergabe nach dem Klangfilmverfahren. Mit 378 Abb. Leipzig: Hirzel 1931, 455 pp.

•         On the Tobis-system "Klangfilm".

Fischer, Lucy (1977a) Enthusiasm: From Kino-eye to Radio-eye. In: Film Quarterly 31,2, 1977/78, pp. 25-34.

•         Repr. in: Weis & Belton 1985, pp. 247-264.

•         Analysis of the film's reflexive aural techniques and audiovisual editing. Vertov's concept of audiovisual montage is more radical and subtle than Eisenstein's. He invokes the "Radio-Ear" to break the spell of illusionism.

Fischer, Lucy (1977) René Clair, Le Million, and the coming of sound. In: Cinema Journal 16,2, 1977, pp. 34-50.

•         Clair took an approach to sound diametrically opposite to that of American directors: subvert cinematic illusion with sound in order to restore film's poetic powers. In Le Million, avoids sync dialogue, uses songs and chorus, rhythmic speech and sound effects; musical continuity provides narrative continuity. Musical form as the film's subject.

Fischer, Lucy (1980) Applause: The visual and acoustic landscape. In: Cameron 1980, pp. 181-201.

•         Repr. in: Weis & Belton 1985, pp. 232-246.

•         Invoking Arnheim's and Balazs's comments about sound and spatial depth, the analysis of Applause notes the sound track's density, its creation of spatial continuity, spatial ambience, asynchronism, and use of silence.

Fiske, P. (1984) Dean Gawen, Gethin Creagh, Richard Lowenstein: Sound. In: Cinema Papers 47, Aug. 1984, pp. 216-217, 288-289.

•         Interview with the sound crew and director of the film Strikebound.

Fljangal'c, D. (1981) Zvukooperator i zvukovaja kul'tura. In: Iskusstvo Kino 3, March 1981, pp. 80-85.

•         The problems of sound recording.

Fondane, Benjamin (1930) Du muet au parlant: Grandeur et décadence du cinéma. In: Bifur, 5, April 1930.

•         Repr. in: Intelligence du cinématographe. Ed. par Marcel L'Herbier. Paris: Ed. Corréa 1946.

•         [German:] Vom Stummfilm zum Sprechfilm: Größe und Verfall des Kinos. In: Filmkritik 25, 1981, pp. 530-540.

•         Suggests a sound aesthetics, claiming that the sound cartoon, among others, embodies it.

Forlenza, Jeff / Stone, Terri (eds.) (1993) Sound for Picture: An Inside Look at Audio Production for Film and Television. Emeryville, Cal: MixBooks.

Fox, Julian (1972) Casualties of sound. In: Films and Filming 19,1, Oct. 1972, pp. 34-40 [= Part 1: King Mike]; 19,2, Nov. 1972, pp. 33-40 [= Part 2].

Fox, Julian (1980) Walter Murch - making beaches out of grains of sand. In: Cinefex 3, Dec. 1980, pp. 42-57.

•         Examination of the art of sound editor W.M., primarily his work for George Lucas and Francis Ford Coppola.

Frank, Karlhans (1967) Sprache des Films / Sprache zum Film / Sprache im Film. In: Informationsdienst der filmkundlichen Arbeitstagung v. 17. bis 19.11.1967 in Düsseldorf. Hrsg. v.d. Landesarbeitsgemeinschaft der Filmclubs von Nordrhein-Westfalen. Manuskript 1967, pp. 1-13.

Franklin, Harold Brooks (1928) The entertainment value of the sound movie. In: Transactions of the SMPE 12, 24.9.1928, pp. 620-624.

•         Predicts the success of the sound film, but insists it will not supplant the silent film. Includes a discussion of various sound systems.

Franklin, Harold Brooks (1929) Sound motion pictures: From the laboratory to their presentation. New York: Doubleday, Doran 1929,

•         Ch. 1, "The coming of sound", pp. 3-17; early sound systems; influences on acting and stories. Ch. 2, "The growth of sound", pp. 18-34; summarizes the development of various sound systems (Vitaphone, Movietone, Western Electric, RCA-Photophone). Ch. 9, "Comments on production", pp. 222-237. Ch. 13, "The short subject", pp. 296-307; foresees a vogue for the talking short; discusses its place in the maotion picture program, questzioning the possibility of its replacement of vaudeville acts; surveys forms of shorts such as musical performances or comedy acts. Ch. 17, "The future", pp. 356-374.

Franklin, Harold Brooks (1930) The progress of sound motion pictures. In: Journal of the SMPE 15, Dec. 1930, pp. 809-814.

•         Considers the dialogue picture as the most significant product of the sound film.

Franklin, Harold Brooks (1930) A year of sound. In: Journal of the SMPE 14, March 1930, p. 302.

•         Reviews the sound developments of the year 1929.

Frater, Charles B. (1979) Sound recording for motion pictures. London: The Tantivy Press / New York: Barnes 1979, 210 pp. (Screen Textbooks.).

•         Standard instructional textbook for 16mm and 35mm: sound recording, editing, and mixing equip­ments and techniques.

Frayne, John G. / Wolfe, Halley (1949) Elements of sound recording. 1949.

Frayne, John G. / Blaney, A.C. / Groves, G.R. / Olson, H.F. (1976) A short history of motion picture sound recording in the United States. In: Journal of the SMPTE 85,7, July 1976, pp. 515-528.

•         Technological developments, in pursuit of ever-higher quality of sound, from 1918 (German Tri-Ergon group) to the Dolby-Noise Reduction System (1973) and the hue-modulated color-photographic sound track.

Freiberg, Freda (1987) The Transition to Sound in Japan. In: T. O'Regan & B. Shoesmith eds. History on/and/in Film. Perth: History & Film Association of Australia 1987, pp. 76‑80.

Fresnais, Gilles (1980) Son, musique et cinéma. Chicoutimi, P.Q.: Morin 1980, 232 pp.

Frith, Simon (1981) Sound effects: Youth, leisure, and the politics of rock'n'roll. New York: 1981, 294 pp.

Fritz, Walter (1991) Kino in Österreich 1929-1945. Der Tonfilm. Wien: ÖBV Publikumsverlag 1991, 256 pp.

Furbach, E. (1935) Untersuchungen über den Filmlauf im Kinogerät für Bild und Ton. Dresden: Hille 1935, 35 pp.

Gabler, W. (1940) Die Akustik des Tonfilmtheaters. Halle: Knapp (Die Bücher des Lichtspielvorführers. 9.).

•         2. Aufl. 1940. 4. Aufl. 1949.

Galsworthy, John (1930) Galsworthy on the talkies. In: Living Age (Boston) 338, 15.5.1930, pp. 349-350.

•         Interview. G. believes that the talkies will not entirely supplant the silent film. Based on the adaptation of G's Escape (1930).

Gamba, M. (1982) Realizzazione di audiovisivi nell' ambito di una ricerca sui dialetti. In: Rivista Cinematografo 55, Jan.-Feb. 1982, pp. 32-33.

Gardiès, René (1976) Récit et matériau filmique. In: Robbe-Grillet. Colloque de Cerisy. Parris: Union Générale d'Editions 1976, pp. 85-110 (Coll. 10/18.).

Garroni, Emilio (1973) Langage verbal et éléments non-verbaux dans le message filmico-télévisuel. In: Cinéma: Théorie, lectures, Textes réunis et présentés par Dominique Noguez. Paris: Klincksieck 1973, pp. 111-127 (Revue d'Esthétique. Numéro Spécial.).

Gaumont, Leon (1929) Werdegang des Tonfilms. Mit 21. Abb. Berlin: Gaumont 1929, 28 pp.

•         History of the development of sound motion pictures by Gaumont, 1899-1929.

Gautier, G.-L. (1981) Traduction au cinéma - necessité et trahison. In: Image et Son, 363, July-Aug. 1981, pp. 101-118.

•         Deals with the necessity of translation of films and analyses the process, both with subtitles and dubbing.

Geduld, Harry M. (1975) The birth of the talkies: From Edison to Jolson. Bloomington, Ind.: Indiana UP 1975, 337 pp.

•         Copiously documented technological, economic, and critical history from invention of the phonograph and its application to cinematograph to sound-on-film development, to Vitaphone and The Jazz Singer, proliferation of sound systems and adoption by studios, to 1929.

Geluck, D. (1981) De la beauté des prénoms russes aux difficultés du sous-titrage. In: Revue Belge du Cinéma 21, Oct.-Nov. 1981, pp. 20-26.

•         On the literary and practical problems of sub-titling, taking as an example Moskva slezam ne verit. Also touches on dubbing.

Gentry, R. (1984) Alan Splet and sound effects for Dune. In: American Cinematographer 65,11, Dec. 1984, pp. 62-72.

•         Discussion of the techniques employed by A.S. for the Dune sound effects and what brought him to work on the film at this point in his career.

Gerould, Katharine Fullerton (1929) The lost art of motion pictures. In: Century 118, Aug. 1929, pp. 496-506.

Gerstein, Evelyn (1931) What's wrong with the talkies? In: Film Spectator (Hollywood, Cal.) 2, 23.5.1931, pp. 20-22.

•         Opposes the claim that talkies are realistic.

Gibson, Francis (1954) An experimental study of the measurement of auditory manifestations of stage fright by means of rating scale and film sound track technique. Ph.D. Thesis, University of Southern California 1954.

Gilcher, W. (1974) La chute du Vitaphone. In: Cahiers de la Cinémathèque, 13-15, 1974, pp. 4-13.

•         Description of the Vitaphone synchronous reproducing system for sound.

Gill, R. (1973) The soundtrack of Madame Bovary: Flaubert's orchestration of aural imagery. In: Literature/Film Quarterly 1,3, 1973, pp. 206-217.

•         Discusses Flaubert's "cinematic" use of aural imagery. Compares the complex function of sound in Madame Bovary to the device of the soundtrack in motion pictures.

Gillett, John (1970) Laughter. In: Sight and Sound 40,1, 1970-71, p. 45.

•         Observations on the change from silent to sound films through notes on Keaton's last silent film Spite Marriage (1929) and the early sound film Laughter (1930).

Gish, Lillian (1930) On behalf of the silent film. In Oliver M. Saylor's Revolt in the arts. New York: Brentano's 1930, pp. 225-230.

•         A critique of the sound film based on the premise that the art of the cinema is more closely related to music than to the theatre. With some remarks on the problems of screen acting.

Gitt, Robert (1989) Restoring Vitaphone films. In: Bandy 1989, pp. 11-13.

Glassgold, C. Adolph (1928) Canned for eternity. In: Arts, 14, Oct. 1928, pp. 219-220.

Glassgold, C. Adolph (1929) More talk. In: Arts 15, April 1929, pp. 278-280.

•         Comments on Eisenstein and Pudovkin for their advocacy of sound for contrapuntal and expressionistic rather than realistic effects.

Glenn, G. / Murray, S. / Beilby, P. (1974) The true story of Eskimo Nell: Production report. In: Cinema Papers, July 1974, pp. 245-253.

•         Interviews with director Richard Franklin, cinematographer Vince Monton, and sound recordist John Phillips, on the making of The True Story of Eskimo Nell.

Goergen, Jeanpaul (1990) Walter Ruttmann. Eine Dokumentation. Mit Beiträgen v. Paul Falkenberg, William Uricchio & Barry A. Fulks. Berlin: Freunde der Deutschen Kinemathek [1990], 184 pp.

•         Reprints of Ruttmann's brief articles on the aesthetics of sound, pp. 83-90

Goldfarb, Phyllis

see Mintz, Penny

Gomery, [John] Douglas (1975) The coming of sound to the American cinema: A history of the transformation of an industry. Ph.D. Thesis, Madison, Wisc.: University of Wisconsin 1975, x, 511 pp.

•         Repr. Ann Arbor, Mich./London: University Microfilms 1979.

Gomery, [John] Douglas (1976) The 'Warner Vitaphone Peril': The American film industry reacts to the innovation of sound. In: Journal of the University Film Association 28,1, 1976, pp. 11-19.

•         Repr. in: American film industry: A case studies approach. Carbondale, Ill.: Southern Illinois University Press 1982, pp. 119-132.

Gomery, [John] Douglas (1976) The coming of the talkies: Invention, innovation, and diffusion. In: The American film industry: An historical anthology. Ed. by Tino Ballio. Madison, Wisc.: University of Wisconsin Press 1976, pp. 193-211.

•         [Rev. version:] The coming of sound: Technological change in the American film industry. In: Weis & Belton 1985, pp. 5-24. Also in the second ed. of Ballio's book.

•         [Ital.:] In: Hollywood: Lo studio system. A cura di Adriano Apra. Roma: Marsilio Ed. 1982, pp. 112-135.

Gomery, [John] Douglas (1976) The coming of sound to the German cinema. In: Purdue Film Studies Annual 1976. West Lafayette: Purdue University 1976, pp. 136-143.

•         Applies economic models of technological invention and innovation to tracing Tri-Ergon's development and Tobis-Klangfilm's European expansion.

Gomery, [John] Douglas (1976) Tri-Ergon, Tobis-Klangfilm, and the coming of sound. In: Cinema Journal 16,1, 1976, pp. 51-61.

•         The development of the Tri-Ergon system; stages of invention, innovation, and diffusion.

Gomery, [John] Douglas (1976) Problems in film history: How Fox innovated sound. In: Quarterly Review of Film Studies 1,3, 1976, pp. 315-330.

•         Repr. in: Hollywood as historian: American film in a cultural context. Ed. by Peter Rollins. Lexington, Ken.: University of Kentucky Press 1983, pp. 20-31.

Gomery, [John] Douglas (1976) Writing the history of the American film industry: Warner Bothers and sound. In: Screen 17,1, 1976, pp. 40-53.

•         Repr. in: Nichols 1985, pp. 109-120.

•         Argues that Warner Bothers' venture into sound was not a desparate attempt to stave off bak­ruptcy but part of a strategy of planned expansion.

Gomery, [John] Douglas (1977) Failure and success: Vocafilm and RCA innovate sound. In: Film Reader, 2, 1977, pp. 213-221.

•         Argues that not only technology, but a system's marketability, strategies of financing, and management account for success or failure of a sound system. Especially on Vocafilm and RCA Photophone.

Gomery, [John] Douglas (1979) The coming of sound to the American cinema: A history of the transformation of an industry. In: Business and Economic History, Second Series, 8, 1979, pp. 114-117.

Gomery, [John] Douglas (1980) Towards an economic history of the cinema: The coming of sound to Hollywood. In: Lauretis & Heath 1980, pp. 38-46.

Gomery, [John] Douglas (1980) Economic struggle and Hollywood imperialism: Europe converts to sound. In: Yale French Studies 60, 1980, pp. 80-93.

•         Repr. in: Weis & Belton 1985, pp. 25-36.

Gomery, [John] Douglas (1980) Hollywood converts to sound: chaos or order? In: Cameron 1980, pp. 24-37.

Gomery, [John] Douglas (1982) Warner Bros. innovates sound: A business history. In: The movies in our midst. Ed. by Gerald Mast. Chicago, Ill.: University of Chicago Press 1982, pp. 267-282.

Gorbman, Claudia (1976) Teaching the soundtrack. In: Quarterly Review of Film Studies 1,4, 1976, pp. 446-452.

Gorbman, Claudia (1976) Clair's sound hierarchy and his creation of auditory space. In: Purdue Film Studies Annual 1976. West Lafayette: Purdue University 1976, pp. 113-123.

•         Sous les Toits de Paris has unusual sound hierarchy - music, speech, noise - which is upset only during climax in the narrative. Critical terminology for sound space needs to include "off-track-sound" to parallel off-screen visual space. Analysis of Clair's use of spatial dimensions of sound and speech.

Gorbman, Claudia (1980) Bibliography on sound in film. In: Yale French Studies, 60, 1980, pp. 269-286.

•         Includes 160 items on music.

Gorbman, Claudia (1985) Annotated bibliography on film sound (excluding music). In: Weis & Belton 1985, pp. 427-445.

Gorbman, Claudia (1993) Chion's "Audio-vision". In: Wide Angle 15,1, 1993, pp. 66-77.

Gorbman, Claudia / Monaco, James (1975) Letter. In: Movietone News 44, 29.9.1975, pp. 17-18.

•         Comment on an article on sound recording in no. 42; with the author's response.

Gordon, Bernard / Zimet, Julian (1937) Sound. In Their The technique of the film. New York: Film and Sprockets Society of the CCNY Art Department 1937, pp. 20-24 (Publication No. 1.).

Görisch, Rolf (1936) Beiträge zur Kenntnis des Grundgeräuschs von Tonfilmen. Bielefeld: Beyer & Hausknecht 1936, 40 pp.

Goulding, Edmund (1928) The talkers in close-up. In: National Board of Review Magazine 3, 6.-7.7.1928, pp. 3-4.

•         Sound film as an extension of the range of sensory enjoyment.

Gourdon, G. (1979) Les masques du silence. In: Cinématographe 47, May 1979, pp. 24-27.

•         Acting problems when sound was introduced.

Graham, Mark (1981) Padre Padrone and the dialectics of sound. In: Film Criticism 6,1, 1981, pp. 21-30.

•         Analyses the use of speech, noise, and music making connections between the narrative and thematic concerns. "Musical structure".

Grajetzky, H. (1934) Untersuchungen über das Grundgeräusch bei der Tonfilmwiedergabe nach dem Lichttonverfahren. Mit Abb. Berlin: Jul. Springer 1934, 13 pp.

Grange, Marie-Françoise (1985) Sur L'Hypothèse du Tableau vole de Raoul Ruiz: une certain utilisation de la parole. In: Iris 3,1, 1985, pp. 77-89.

Grant, J. (1979) Fassbinder n'a qu'une parole. In: Cinéma (Paris) 251, Nov. 1979, pp. 36-37.

•         The complex use of sound and especially language in Fassbinder's films.

Gray, Charleson (1930) Charlie Chaplin's defense of silent pictures. In: Motion Picture Classic 31, Aug. 1930, pp. 36-37, 87.

•         Defends pantomime as a universal and international medium and ridicules the imperfections in current sound film technique.

Green, Fitzhugh (1929) The bomb that blew the movies upside down. In: American Magazine 107, April 1929, pp. 48-49, 118, 120, 122, 125.

•         Details the revolutionary technical and industrial changes inaugurated by the advent of sound. Describes the first presentation of Vitaphone by Warner Bros. (6.8.1926) and early sound films.

Green, Fitzhugh (1929) The film finds its tongue. New York: Putnam's 1929, 316 pp.

•         Repr. New York: Benjamin Blom 1971.

•         The story of the part played by Warner Bros. in bringing the sound film to the screen. See esp. pt. III, "Production", discussing the problems of adapt­ing sound engineering to theatrical needs, and describing Vitaphone's first sound stage; on the emergence of spoken dialogue as a departure from musical recordings. See also pt. IV on "The talkie boom".

Greenidge, Terence (1929) Film tendencies in the moment. In: Socialist Review (London) NS 1, Nov. 1929, pp. 46-53.

•         Criticizing the talking film for its deficient finish, artificiality in physical relation between sight and sound, and its mechanical imperfection. With some remarks on Vertov's Kino-Eye.

Greenwald, William I. (1952) The impact of sound upon the film industry: A case study of innovation. In: Explorations in Entrepreneurial History, 4, May 1952, pp. 178-192.

Gregg, Eugene S. (1968) The shadow of sound. New York: Vantage 1968, 174 pp.

Grice, H. Paul (1985) La parole au cinéma. In: Iris 3,1, 1985, pp.

Grierson, John (1933) Pudovkin on sound. In: Cinema Quarterly 2,2, 1933-34, pp. 106-110.

•         Agrees with Pudovkin that sound should compliment, not duplicate images, but Pudovkin's writing fails to account for rich complexities in good sound films: "The trouble with Pudovkin is that he performs like a poet and theorizes like an elementary school teacher."

Grierson, John (1934) Introduction to a new art. Sight and Sound 3,11, 1934, pp. 101-104.

•         Theoretical treatise about the role of sound in cinema, asking for a break with theatrical dialogue.

Grierson, John (1934) The GPO gets sound. In: Cinema Quarterly 2,4, 1934, pp. 215-221.

•         How the GPO, in acquiring film sound technology, has eliminated "economic and ideologic overheads".

Grierson, John (1935) One hundred per-cent cinema. In: Spectator (London) 155, 23.8.1935, pp. 285-286.

Griggs, I.C. (197?) De Forest Phonofilms (Australia) Ltd. In: Cinema Papers, June-July 197?, pp. 16-20, 91.

•         Description of the development of De Forest Phonofilms and their use in Australia. Includes an interview with Arthur Hansen and Len Jordan both involved with De Forest's work.

Grundy, J.B.C. (1933) Language and film. In: Sight and Sound 2,6, 1933, pp.; 2,7, 1933, pp.

•         Sound has changed film's universality, caused film regionalization.

Gryzik, Antoni (1981) Introduction à la mise-en-scène du son dans le cinéma. Thèse Paris: Université de Paris I 1981.

•         Beginning with functions of sound in ancient theater and functions of sound allusions in silent film; outlines a dramaturgy of "sound mise-en-scène" in cinema.

Gryzik, Antoni (1984) Le rôle du son dans le récit cinématographique. Paris: Minard 1984, 123 pp. (Etudes Cinématographiques. 139-141.).

Guernsey, Otis L. (1955) Ghosts in the reel. In: Saturday Review 38, 30.4.1955, p. 27.

•         How dubbing links beautiful voices with the stars.

Guillot de Rhode, François (1953) La dimension sonore. In: L'univers filmique. Ed. par Etienne Souriau. Paris: Flammarion 1953, pp. 119-135.

•         Demonstrates via historical and phenomenological arguments that sound is necessary to film, an integral part of the image. Philosophical commentary on audiovisual representation.

Haakman, A. (1974) Hans Kramski: Geräuschemacher. Ritselen in het donker. In: Skoop 10,8, Nov. 1974, pp. 32-35.

•         Interview with the German sound-effects creator.

Haas, Arthur (1934) Physik des Tonfilms. Fünf gemeinverständliche Vorträge. Mit 34 Abb. Leipzig: B.G. Teubner 1934, 74 pp. (Mathematisch-physikalische Bibliothek. II,10.).

Hack, Ronald (1961) The tape editing guide. 1961.

Hadden, H. Burrell (1962) High-quality sound production and reproduction: Sound studio and outside broadcasting practice. 1962, 273 pp.

•         BBC Programme Operations training manual.

Hahn, Hans-Joachim (1939) Der Tonfilm. Grundlagen und Praxis seiner Aufnahme, Bearbeitung und Vorführung. 3. Aufl., neubearb. v. Hans-Joachim Hahn unter Mitarb. namhafter Fachleute. Mit 241 Abb. Berlin: Buhrbanck 1939, 391 pp. (Licht-Bild-Bühne.).

Hale, Louise Closser (1930) New stage fright: Talking pictures. In: Harper's 161, Sept. 1930, pp. 417-424.

•         Hale was an actress.

Hall, Mordaunt (1928) The reaction of the public to motion pictures with sound. In: Transactions of the SMPE (Easton, Pa.) 12, 24.9.1928, p. 603.

•         Sound has weakened acting; sound films require more subtle stories and more intelligent dialogue; silence should be used where it is effective.

Hall, Mordaunt (1928) Hollywood and sound. In: Authors' League Bulletin 16, July-Aug. 1928, pp. 13-14.

•         Al Jols on and The Jazz Singer; Douglas Fairbank's use of sound in The Iron Mask (1929); and the Fox comedies and newsreels.

Hamilton, James Shelley (1929) This thing called the talkies. In: Harper's Bazaar 63, Sept. 1929, pp. 95-96, 190.

•         Facetious Comment on the permanence of the talkies.

Hammand, C. (1984) Sound... and image. In: Wide Angle 6,2, 1984, pp. 24-33.

Hammond, Percy (1928) Came the din. In: Vanity Fair 31, Oct. 1928, p. 69.

•         Expresses a sentimental preference for the silent film.

Hampton, Benjamin Boles (1931) A history of the movies. New York: Covici Friede 1931.

•         Repr. as History of the American film industry from its beginnings to 1931. Ed. by Richard Griffith. New York: Dover 1970.

•         Business history. See chs. 17 and 18, 1931-ed. pp. 362-387, 388-405. Ch. 17, "Talkies", gives an account of the advent of the sound film in 1926; outlines the confused status of the numerous sound patents on the market; also details the financial plight of the Warner Bros. company. Ch. 18, "Sound and fury", describes the far-reaching effcts of the establishment of sound on the film industry; chronicles the formation of the RKO, Paramount-Publix, and MGM organizations; the changes in studio operation and equipment; and the effect of the talkies on the stars of the silent era, and on musicians.

Handzo, Stephen (1985) A narrative glossary of film sound technology. In: Weis & Belton 1985, pp. 383-426.

Handzo, Stephen (1995) The sound of sound. In: Cineaste 21,1-2.

•         The concept of ‚correct‘ sound reproduction is by no means straightforwarded.

Hanlon, Lindley (1985) Sound in Bresson's Mouchette. In: Weis & Belton 1985, pp. 323-331.

Hardy, Forsyth (1934) Developing sound. In: Cinema Quarterly 3,1, Autumn 1934, pp. 39-43.

•         In documentary, animation, and features.

Harrington, John (1973) The rhetoric of film. New York [...]: Holt, Rinehart & Winston 1973, xi, 175 pp.

•         See ch. 3, "Documenting the world: Sound". Includes some remarks on uses of sound in documentary.

Harris, James (1936) Sound film elements and their synthesis. In: Film Art (London) 3, Autumn 1936, pp. 9-11.

•         Defines sound montage as the interaction of simultaneous visual and aural images, deriving its peculiar quality from the concreteness of the picture and the generalized quality of the sound. Finds the capacity of sound for evoking mnemonic images, termed "aural flash-backs", more effective than visual flash-backs, citing the music in A nous la Liberté (1931) as an example.

Harris, R.J., Jr. (1992) The foley artists are a noisy bunch in movie making. In: The Wall Street Journal, 21.12.1992, pp. A1, A5.

Hartmann, Britta (1993) Pudowkins Desertir als Beispiel für das Konzept der Asynchronität von Bild und Ton im frühen sowjetischen Tonfilm. In: 3. Film- und Fernsehwissenschaftliches Kolloquium / Marburg '90. Hrsg. v. Jürgen Felix & Heinz-B. Heller. Münster: MAkS Publikationen 1993, pp. 200-205 (Film- und Fernsehwissenschaftliche Arbeiten.).

Harvey, F.K. (1982) Mementos of early photographic sound recording. In: Journal of the SMPTE 91, 1982, pp. 237-245.

Hasenberg, Werner (1931) Der Verstärker und seine Bedienung. Mit 27 Abb. Halle: Knapp 1931, 36 pp. (Bücher des Lichtspielvorführers. 7.).

•         Der Tonfilmverstärker und seine Bedienung. 2. Aufl. 1943. 3.-5. Aufl. 1948.

Hatch, Robert (1960) Films. In: The Nation 191, 3.9.1960, pp. 119-120.

•         Answer to Bosley Crowther (from The New York Times) concerning subtitles vs. dubbed dialogue.

Hatschek, Paul (1931) Grundlagen des Tonfilms. Mit 26 Abb. Halle: Knapp 1931, 35 pp. (Bücher des Lichtspielvorführers. 6.).

•         3. Aufl. 1943. 4. Aufl. 1944. 6.-8. Aufl. 1948. 11. Aufl. 1950.

Hatschek, Paul (1932) Vorführung der neuen Klang­film‑Ein‑Boxen‑Apparatur. In: Kinotechnik v. 5.10.1932, pp. 352-353

Hatschek, Paul (1932) Ein Jahr Elektroakustik im Lichtspielhaus. In: Filmtechnik v. 17.12.1932, pp. 1-2.

Hatschek, Paul (1933) Die Photozelle im Dienste der Tonfilmwiedergabe. Mit 24 Abb. Halle: Knapp [1933], 39 pp. (Bücher der Lichtspielvorführer. 14.).

•         2.-4. Aufl. 1948. 5-6. Aufl. 1951.

Hatschek, Paul (1933) Was muß jeder vom Film und Tonfilm wissen? Mit 42 Abb. Leipzig: Hachmeister & Thal [1933], 128 pp. (Lehrmeister Bücherei. 962/65.).

Hays, Will H. (1929) See and hear: A brief history of motion pictures and the development of sound. N.p.: Motion Picture Producers and Distributors of America 1929, 63 pp.

•         Repr. New York: Arno Press 1970 (Screen Monographs. 2.).

•         See chs. 4-6, pp. 38-60: a compact, popular account of the historic development and technique of talking pictures.

Hehlgans, F. (1933) Die Entwicklung des Tonfilmverfahrens der AEG. In: Jahrbuch des For­schungs‑Instituts der Allgemeinen Elek­tricitäts‑Gesellschaft (Berlin) 3, 1931/32 (1933), pp. 11‑16.

Hehlgans, F. / Lichte, H. (1930) Aufnahme und Wiedergabe von Musik und Sprache bei Tonfilmen. In: Petersen 1930, 24 pp.

Helman, Alicja (1980) On the fundamental interactions of sound subcodes in film. In: Polish Art Studies 2, 1980, pp. 201-215.

•         Understanding the particular code in which a sound-track element (as the English language, Romantic orchestral music, etc.) participates, is not what semiotic studies of film sound need to do; rather, codes governing interactions of sound and image need to be described.

Hemardinquer, P. (1949) Le fil, le film et le ruban sonores. 1949.

Henderson, Brian (1983) Tense, mood and voice in film. Notes after Genette. In: Film Quarterly 36,4, 1983, pp. 4-17.

•         Repr. in: Film Quarterly: forty years ‑‑ a selection. Edited by Brian Henderson and Ann Martin, with Lee Amazonas. Berkeley: University of California Press 1999, pp. 54-75.

Henry, Jean-Jacques (1978) L'espace d'un instant. In: Cahiers du Cinéma, 285, Feb. 1978, pp. 16-19.

•         Outline history of the technical development of the cinema concerning a camera which records both vision and sound.

Henry, Jean-Jacques (1979) Claquez vos portes sur un silence d'or: Notes sur le son chez Tati. In: Cahiers du Cinéma, 303, Sept. 1979, pp. 25-27.

•         Entirely constructed nature of Tati's sound tracks for Les Vacances de M. Hulot and Playtime. Disregard of sync, fidelity, other aspects of auditory realism. Tati's sound does not connect but fractures the very image.

Henry, Jean-Jacques (1980) Stéréo Dolby ou Comment deux se divisent. In: Cahiers du Cinéma, 308, Feb. 1980, p. vi.

•         The disadvantages of the Dolby stereo system.

Henry, Ralph L. (1929) The cultural influence of the talkies. In: School and Society 29, 2 Feb. 1929, pp. 140-150.

Hens, Henrik Andreas (1979) A few aspects on sound history and history sound in film. In: History and the audio-visual media. Ed. by Karsten Fledelius, Kaare Rübner Jörgensen, Niels Skyum-Nielsen & Erik H. Swiatek. Copenhagen: Eventus 1979, pp. 427-453 (Studies in History, Film and Society. 1.).

Herkt (1931) Lichtton wird frei! In: Filmkurier v. 31.10.1931.

Hermelin, Christian (1967) Les montages sonores et visuels. Technique d'animation culturelle. Paris: Ed. Ouvrières 1967, 169 pp.

Hernandez Les, J. (1979) El gran debate del cine sonoro. In: Cinema 2002, 51, May 1979, p. 42.

•         Reflections on the introduction of sound in films.

Herring, Robert (1930) Twenty-three talkies. In: Close Up (London) 6, Feb. 1930, pp. 113-128.

•         Documents a recommendation for impressionism as against naturalism in the use of sound.

Herring, Robert (1931) The new German cinema. In: The London Mercury 24, Oct. 1931, pp. 539-544.

Higson, Andrew (1984) Sound cinema. In: Screen 25,1, 1984, pp. 74-78.

•         Summarizes presentations at Fall 1983 conference in Birmingham on "Sound cinema", focusing on semiotics of film sound and the positioning of auditor/spectator.

Hilton, Kevin (1998) Walter Murch ‑ the sound film man. In: Studio Sound, May 1998.