فصل الصوت ، خلفية تاريخية ٢-a .. كتاب فهم السينما

The single will replace the explanatory titles in the silent film, giving the picture a dominance that nothing can interrupt. This preference for monologues reflects Soviet bias towards film

The documentary.

Even the most biased stage directors were against purely realistic uses of sound. The French director Rene Claire reached the same conclusions as the Soviets. Voice should be used selectively, not uncritically. He believed that the ear chooses like the eye, and that the sound can be produced like the image. Since 1929, Claire praised a Hollywood musical entitled (Broadway Melody) for his experiences with imaginative ability in the sound. also. In this and other examples, sound could have been used instead of snapshots. The dialogue did not have to be completely synchronized, as the sound could be a means of continuity once the relationship between the image and the sound became clear. That's what Claire was claiming during the scene. There was no need to go back to the re-installation shots as the continuity of the audio stream provided permanent continuity to all of the visuals. Even the scenes

Claire made a number (1931) of musical films depicting his theories. In his movie (The Million), for example, music and song often replace dialogue. Some scenes have been parodied with out-of-sync visuals. Many scenes were filmed without sound, and then sound was added to them after editing was completed. These charming films had almost all the formal freedom of the pre-sound era, devoid of the literal constraint that bedeviled most talkies. In fact, the model created by Claire, although ahead of his time, became the main input later in the production of talking films. A number of American directors have also experimented with sound over the years First of all, director Lewis Milestone added the sound effects of bombs exploding and cannonballs firing without matching visuals in his film All Quiet on the Western Front. Ernst Lubitsch uses the sound as Claire out of sync with the image in order to produce a number of clever and often dark juxtapositions. In his musical Monte Carlo, for example, we see the heroine in her bedroom while rubbing her back with her smitten hairdresser. As she continues her groans in delightful relaxation, Lubitsch cuts to a shot of her maid listening outside at the bedroom door, her face a mixture of awe and lustful amazement at the sounds that continue down the vocal tract. In short, as soon as the beginning of the thirties came, the addition of sound after photographing the picture became something that freed the camera from the tyranny of the intense synchronization process.

However, the sound finished the work of many artists, especially actors. Most historians believe that major comedians such as Buster Keaton, Harold Lloyd, and Harry Langdon lost their work with the introduction of sound. Chaplin was the only one among the great American comedians to overcome this change (5-4). Chaplin fought in his film (Modern Times (produced in 1936) a brave war, but the end is useless against the language. The only one in the film is the strange Big Brother thrown off a television screen. Like many silent film artists, Chaplin believed that mime was the essence of cinema, and in this film he criticizes the insignificance of spoken language with arrogance.

Chaplin is supposed to sing a song to save a situation in a dingy nightclub but he can't remember the lyrics. In desperation, he improvises some obscure "foreign" words while mime, revealing the meaning of the song with his face and body. The meaning of the melody triumphantly arrives through what we see, not what We hear.

But by 1936 Chaplin's avoidance of spoken dialogue had come to be considered almost the whole world as a Don Quixote in a losing war. The advantages of sound have long been recognized by all but the most desperate reactionaries. The increasing realism which sound brought has forced representational techniques to become more natural, since actors no longer need to make up for the absence of dialogue.

Movie stars realized as well as stage actors that the subtlest changes in meaning can be communicated by sound.

In Silent Days, directors had to use written titles to express non-figurative information such as dialogue and commentary. In some films these interruptions almost break the delicate rhythm of the elegies. Dreyer's (St. John), for example, is crammed with a disturbing series of explanatory titles that deliver the dialogue. Other directors avoided written titles through dramatic, pictorial construction as much as possible. These practices led to many pictorial templates at the beginning of the film. For example, the villain might be set by filming him kicking a dog, the heroine could be distinguished through the spiritual lighting »that forms a halo around her head, and so on.

Even in non-dialogue scenes, the sound eliminates the need for what Claire called "figurative hypertrophy." In the absence of sound, almost all of the necessary meaning must be inserted into the images. In fact, this dilemma is almost the basis of one of Impressionism's theories of art. This theory says that art forms flourish because of their inadequacy in recording literal truth. Rudolf Arnheim, for example, claimed that film art is possible precisely because it does not resemble reality. The film artist without sound must communicate all meaning in images just as men of letters must communicate their sense of reality through words and the composers through sounds, and so on. But the mixture of sounds and images will not necessarily be more like the truth, as film directors later proved. The sound of directors has expanded the range of their capabilities and enabled them to communicate meanings through a new set of metaphors, not all of which are similar to what we find in reality never .

The year 1941 was, in some ways, a landmark in the history of talkies, as it was the year in which Orson Welles's film The Citizen (Kane) appeared (55).