Contents

pp 5-6

1 - The Aesthetics of Early Sound Film: An Introduction

pp 7-26

I - From Silence to Sound

pp 27-28

2 - Dialogue Scenes in the Period of Multiple-Camera Shooting: The Example of Arrowsmith

pp 29-48

3 - Expressive Visual Effects from Silent to Sound Film

pp 49-66

4 - From the Lexigraphic to the Melomanic: Accommodations to Sound in American Studio Animation

pp 67-86

II - From Theory to Practice

pp 87-88

5 - “To Select, To Organize, To Sharpen”: Rouben Mamoulian, Sound Film Theory, and Applause

pp 89-104

6 - Futurists and ‘Homogenizers’ in Early Soviet Sound Film

pp 105-122

III - National Contexts

pp 123-124

7 - Early Japanese Sound Film Aesthetics at Shochiku and Nikkatsu

pp 125-142

8 - Early Sound Films in France: Contexts and Experiments

pp 143-156

9 - Reporters, Radio Waves, and the Dispersed Audience: Staging the Radio in Early German Sound Cinema

pp 157-174

IV - Speech and Language

pp 175-176

10 - Talking Photographs: The Speaking Subject in Anglophone Newsreel and Documentary (1927–1936)

pp 177-192

11 - Die Nacht gehört uns/La nuit est à nous and Multilingual: Reception in Switzerland

pp 193-204

12 - The Mimetic Attempt of Multiple Versions: Language, Voice, and Transcultural Talkies (1929–1932)

pp 205-222

V - Music and Noise

pp 223-224

13 - “How Did the Music Get to the Fish Market?”: On the Use of Nondiegetic Music in Early German Sound Films

pp 225-242

14 - The Sounds of War: Reflections on WWI Films of 1930

pp 243-260

15 - Urban Noise in the Early Italian Sound Film Gli uomini, che mascalzoni …

pp 261-276

General Bibliography

pp 277-296

Index

pp 297-307