The Sounds of Early Cinema is devoted exclusively to a
little-known, yet absolutely crucial phenomenon: the ubiquitous
presence of sound in early cinema. "Silent cinema" may rarely have
been silent, but the sheer diversity of sound(s) and sound/image
relations characterizing the first 20 years of moving picture
exhibition can still astonish us. Whether instrumental, vocal, or
mechanical, sound ranged from the improvised to the pre-arranged
(as in scripts, scores, and cue sheets). The practice of mixing
sounds with images differed widely, depending on the venue (the
nickelodeon in Chicago versus the summer Chautauqua in rural Iowa,
the music hall in London or Paris versus the newest palace cinema
in New York City) as well as on the historical moment (a single
venue might change radically, and many times, from 1906 to
1910).
Contributors include Richard Abel, Rick Altman, Edouard Arnoldy,
Mats Bjorkin, Stephen Bottomore, Marta Braun, Jean Chateauvert, Ian
Christie, Richard Crangle, Helen Day-Mayer, John Fullerton, Jane
Gaines, Andre Gaudreault, Tom Gunning, Francois Jost, Charlie Keil,
Jeff Klenotic, Germain Lacasse, Neil Lerner, Patrick Loughney,
David Mayer, Domi-nique Nasta, Bernard Perron, Jacques Polet,
Lauren Rabinovitz, Isabelle Raynauld, Herbert Reynolds, Gregory A.
Waller, and Rashit M. Yangirov."
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