technological advances

technological advances

The advances were not related to the film itself, but with the technology. They took out the AT & T (American Telephone andTelegraph) and RCA (Radio Company of America) and later at Western Electric.

In Hollywood had no interest in the talkies, although Edison had experimented with a system to synchronize image and sound, in the decade of the apparatus was rather clumsy 10.Este and onlyallowed very short recordings, so it did not develop . These two companies needed to develop a method for recording sound anddistributed by the AT & T recorded on discs, the Western Electricstart designing speakers, for its part, the RCA was interested in increasing their broadcasting capacity and improve the quality of sound. What they wanted was to make the three audiosynchronization systems.

FANTASTIC MOVIES

FANTASTIC MOVIES

The trend to escape of a reality those promotion favorable things for the history and transformation of the cinema was accentuated in those years. A cycle of movies of classic terror, between which there are, included Dracula 1931, of Todd Browning, The doctor Frankenstein 1931, of James Whale, and the mummy 1932, of Karl Freund, went out of the studies of the Universal one, generating a series of sequels and imitations throughout the whole decade. One of the movies that had a great success in ticket office was King Kong 1933, of Merian C. Cooper. In the fantastic kind also emphasized the magician of Oz 1939, of Victor Fleming, musical infantile based on the librode L. Frank Baum led by Judy Garland, who would turn into the first musical artist of the decade of 1940.

 THE ARTISTIC CINEMA

 The production of fantastic movies of Hollywood was tried to compensate during the thirties with more serious and realistic, European movies in his most, as the German El blue angel 1930, of Josef von Sternberg, who announced Marlene Dietrich, or the French The great illusion 1937, of Jean Renoir, considered one of the big antiwar like movies of the history of the cinema. An American filmmaker proceeding from the radio, the writer - director-actor Orson Welles, surprised from his first work with his new settings, Angular aims and sound effects, between other innovations, which extended considerably the cinematographic language. Though it never managed to adapt to the industry of Hollywood, and rarely did he find financial support for his projects, his movies Civil Kane (1941) and the fourth order (1942) had an influence capital in the work of the later filmmakers of Hollywood and of the entire world.

THE SOUND FILM

THE SOUND FILM
In 1926 Warner Brothers production company introduced the first effective sound system, known as Vitaphone, which consists of recording the soundtrack music and the spoken texts in large disks that are synchronized with onscreen action. In 1927, Warner released The Jazz Singer, Alan Crosland, the first sound film, starring the Russian-born entertainer Al Jolson, who achieved an immediate success and unexpected by the public. Their slogan, taken from the text of the film "you have not heard anything," signaled the end of the silent era. By 1931 the Vitaphone system had been overcome by the Movietone, which recorded sound directly on film, in a side band. This process, invented by Lee de Forest, became the standard. The sound film became an international phenomenon overnight.

The first talkie The transition from silent films to sound was so fast that many films released between 1928 and 1929, who had begun as a silent production process were voiced to match after a pressing demand. The theater owners also rushed to make them suitable for rooms of sound, while films were shot in which the sound was exhibited as a novelty, adapting and introducing foreign literary sound effects at the earliest opportunity.
The public soon tired of the monotonous dialogue and the static conditions of these films, in which a group of actors was close to a fixed microphone. These problems were solved in the early 1930's, when several countries, a group of filmmakers had the imagination to use the new medium in a more creative, releasing the microphone in your statism to restore a fluid sense of cinema and discover the benefits of post-synchronization (the dubbing, sound effects and room following the general assembly), which allowed the manipulation of sound and music once filmed and edited the film. In Hollywood, Lubitsch and Vidor King experimented with shooting long sequences without sound, adding further to highlight the action.
Lubitsch did it gently, music, The Love Parade (1929), and Vidor with the ambient sound to create a natural atmosphere Hallelujah (1929), a musical performed entirely realistic African American actors whose action takes place in South the United States. The directors began to learn how to create the sound effects was based on unseen objects on the screen, realizing that if the viewer could hear a ticking clock display was unnecessary.