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British Silent Cinema and the Transition to Sound

英国无声电影和有声电影的过渡

基本信息

批准号：
AH/L013800/1
负责人：
Laraine Porter
金额：
$ 50.35万
依托单位：
De Montfort University
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2014
资助国家：
英国
起止时间：
2014 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FL013800%2F1
关键词：
British Silent Cinema Transition Sound

项目摘要

In recent years the advent of digital, CGI and 3D technologies have been heralded as revolutionising our experience of cinema, but these are nothing compared to the impact of new sound technologies in the late 1920s when silent cinema as an art form was subjugated to the spoken and sung word. In Britain the films produced in this transitional period, with the exception of Hitchcock's Blackmail (1929), produced in both silent and sound versions, have been largely overlooked. Early British sound films have suffered from critical denigration due to their supposedly clumsy attempts to deal with the spoken word. However, their reappraisal is now long overdue, particularly in the wider contexts proposed by this study which will look comprehensively, for the first time, at the ways in which British cinema responded to the coming of sound across all aspects of production, exhibition, distribution and reception - from the frenzied international competition to patent and install new sound equipment in studios and cinemas, to the impact on film stars and the thousands of cinema musicians who played to silent films, to the kinds of films that were produced and the critical and popular responses to them. The economic burden of equipping studios and cinemas for sound required massive domestic and foreign investment and coincided with global recession, the Wall Street Crash and the need for fundamental changes to financial investment in cinema. This project will examine British cinema's response to these conditions alongside the various positive and negative drivers for and against sound cinema; from the increasing influence of popular radio and audiences' desire to hear the sung and spoken word and the various equipment manufacturers competing to dominate global markets, to victims such as the musicians and composers who relied on the cinema for their livelihood, the silent stars whose voices did not respond to the microphone, and the scenarists who wrote intertitles for silent films.In order to carefully periodise this transition, the study will be divided into three key periods corresponding to the project's workplan:1927-1928 - the period immediately before the arrival of The Jazz Singer in the UK1929-1930 - the transition between silent and sound when films were made in both formats and the industry experimented with different technologies and methods1931-1933 - the early sound period when silent cinema technologies and personnel were adapting to the new mediumUsing this historical framework, the research will investigate and draw together, the following three areas:1. The British cinema industry and infrastructure in terms of producers, studios and production companies and the changes caused by new sound technologies including the development of studio recording and cinema exhibition technologies, the rush to patent new systems and those who succeeded or failed. The overall effects on businesses and industrial organisations associated with cinema; the winners and losers including impacts on:i. personnel with the rapid need for new skills and the loss of those associated with silent cinema and related changes in the organisation of labour.ii. audiences, cinema-going and the response of press and critics.iii. the source material for new sound cinema.iv. international relations in the spheres of co-production and distribution 2. a critical reappraisal of the films themselves in the light of the above including how film techniques and aesthetics changed and developed over these three periods. 3. historical evidence explaining how 'the talkies' changed British cinema forever and the significance of their legacy.

近年来，数字，CGI和3D技术的出现已经预示着革命性的电影体验，但这些都无法与20世纪20年代后期新声音技术的影响相比，当时无声电影作为一种艺术形式被征服了口语和歌唱。在英国，除了希区柯克的《勒索》（1929），在这个过渡时期制作的电影在很大程度上被忽视了。早期的英国有声电影由于其被认为是笨拙的处理口语的尝试而遭受了批评的诋毁。然而，他们的重新评估现在早就应该了，特别是在这项研究提出的更广泛的背景下，这项研究将首次全面审视英国电影在制作，展览，发行和接收的各个方面对声音的到来做出反应的方式-从疯狂的国际竞争到专利和在工作室和电影院安装新的音响设备，对电影明星和数千名演奏无声电影的电影音乐家的影响，对制作的电影类型以及对它们的批评和流行反应。为制片厂和电影院提供音响设备的经济负担需要大量的国内和外国投资，而与此同时，全球经济衰退、华尔街崩溃以及对电影业金融投资进行根本改革的必要性也在发生。这个项目将研究英国电影对这些条件的反应，以及支持和反对有声电影的各种积极和消极因素;从流行电台的影响力日益增强，观众渴望听到歌唱和口语，以及各种设备制造商竞相主导全球市场，到受害者，如音乐家和作曲家，他们依靠电影院谋生，声音没有对麦克风做出反应的无声明星，以及为无声电影撰写字幕的场景设计师。为了仔细划分这一转变的时期，该研究将根据项目工作计划分为三个关键时期：1927-1928 -爵士歌手在英国到来之前的时期1929 -1930 -无声和有声之间的过渡，当电影以两种格式制作时，工业界尝试了不同的技术和方法1931 -1933 -无声电影技术和人员适应新媒体的早期有声时期，在这个历史框架下，本研究将从以下三个方面进行考察和归纳：1.英国电影业和制片人，工作室和制作公司方面的基础设施以及新声音技术引起的变化，包括工作室录音和电影放映技术的发展，急于申请新系统的专利以及那些成功或失败的人。对与电影相关的企业和工业组织的总体影响;赢家和输家包括对以下方面的影响：迅速需要新技能的人员和与无声电影有关的人员的流失以及劳动力组织的相关变化。观众、电影观众以及新闻界和评论家的反应。新声音电影的素材。共同生产和分配领域的国际关系2.在此基础上对电影本身进行批判性的重新评价，包括电影技术和美学在这三个时期的变化和发展。3.历史证据解释了“有声电影”如何永远改变了英国电影及其遗产的意义。