Engineering a Revolution: Technology and the Transformation to Sound Film in the Motion Picture Industry, 1920-1933

工程革命：技术和电影行业有声电影的转型，1920-1933

• 批准号: 9729706
• 负责人: Emily Thompson
• 金额: --
• 依托单位: University of Pennsylvania
• 依托单位国家: 美国
• 项目类别: Standard Grant
• 财政年份: 1998
• 资助国家: 美国
• 起止时间: 1998-06-01 至 2001-08-31
• 项目状态: 已结题
• 来源: https://www.nsf.gov/awardsearch/showAward?AWD_ID=9729706&HistoricalAwards=false
• 关键词: Engineering; Revolution; Technology; Transformation; Sound

This project examines the interrelationships among technology, art and business through a study of the development of sound motion picture technology in the 1920s and early 1930s. The successful application of amplified sound to motion pictures circa 1926 did not simply give voice to previously silent films: the new technology fundamentally and dramatically changed how movies were made, who made them, what they were about, what they looked like, and how audiences received them. The project will not only produce a much-needed history of the technological transformation of motion pictures during the `sound revolution,` it will also elaborate upon other topics of more general interest to historians and other scholars of technology. Among these are the relationship between corporate structure and technological development, the nature of engineering work and the collaboration of engineers with others, and the permeability of the boundary between `technical` work and `aesthetic` work. Corporate and studio archives, technical papers, personal memoirs, the films themselves and the machines that made them will provide the investigator with a rich variety of resources for this work. The resulting book will be fully accessible to a non-scholarly readership as well as to a diverse array of scholars.

该项目通过对20世纪20年代和30年代初有声电影技术发展的研究，探讨技术，艺术和商业之间的相互关系。 1926年左右，电影成功地运用了声音放大技术，这不仅仅是为以前的无声电影赋予了声音：新技术从根本上极大地改变了电影的制作方式、制作者、电影的内容、电影的外观以及观众对电影的接受方式。 该项目不仅将产生一个急需的历史上的技术改造的电影在“声音革命”，它也将阐述其他主题更普遍的兴趣，历史学家和其他学者的技术。 其中包括公司结构与技术发展之间的关系、工程工作的性质和工程师与其他人的合作，以及“技术”工作与“美学”工作之间界限的渗透性。 公司和工作室档案，技术文件，个人回忆录，电影本身和制作它们的机器将为调查人员提供丰富的各种资源。 由此产生的书将完全访问非学术读者以及各种学者。