Skip to product information
1 of 0

Silent Film Sound

Regular price $40.00
Regular price $40.00 Sale price $40.00
Sold out
For the first time, Silent Film Sound details the ways in which these diverse interests and industries came together to produce an extraordinarily successful audiovisual art.
  • 27 February 2007
View Product Details

Because silent cinema is widely perceived as having been exactly that—silent—no one has fully examined how sound was used to accompany the films of this era. Silent Film Sound reconsiders all aspects of sound practices during the entire silent film period. Based on extensive original research and accompanied by gorgeous illustrations, the book challenges the assumptions of earlier histories of this period in film and reveals the complexity and swiftly changing nature of American silent cinema.

Contrary to received opinion, silent films were not always accompanied, nor were accompaniments uniform. Beginning with sound practices before cinema's first decade and continuing through to the more familiar sound practices of the 1920s, Rick Altman discusses the variety of sound strategies and the way early cinema exhibitors used these strategies to differentiate their products. During the nickelodeon period prior to 1910, this variety reached its zenith, with theaters often deploying half a dozen competing sound strategies—from carnival-like music in the street, automatic pianos at the rear of the theater, and small orchestras in the pit to lecturers, synchronized sound systems, and voices behind the screen. During this period, musical accompaniment had not yet begun to support the story and its emotions as it would in later years.


But in the 1910s, film sound acquiesced to the demands of captains of the burgeoning cinema industry, who successfully argued that accompaniment should enhance the film's narrative and emotional content rather than score points by burlesquing or "kidding" the film. The large theaters and blockbuster productions of the mid-1910s provided a perfect crucible for new instruments, new music-publication projects, and the development of a new style of film music. From that moment on, film music would become an integral part of the film rather than its adversary, and a new style of cinematic sound would favor accompaniment that worked in concert with cinematic storytelling. For the first time, Silent Film Sound details the ways in which these diverse interests and industries came together to produce an extraordinarily successful audiovisual art.

files/i.png Icon
Price: $40.00
Pages: 480
Publisher: Columbia University Press
Imprint: Columbia University Press
Series: Film and Culture Series
Publication Date: 27 February 2007
Trim Size: 10.00 X 8.00 in
ISBN: 9780231116633
Format: Paperback
BISACs: PERFORMING ARTS / Film / History & Criticism, PERFORMING ARTS / Film / General, TECHNOLOGY & ENGINEERING / Acoustics & Sound
REVIEWS Icon
Weighty and ambitious....This thoroughly researched and copiously illustrated book is recommended for large libraries and all cinema collections.
Rick Altman is professor of cinema and comparative literature at the University of Iowa. He is the author of The American Film Musical and Film/Genre; the editor of Sound Theory Sound Practice; and the coeditor of The Sounds of Early Cinema.

Part I: Methodology
1. The History of Silent Film Sound
Past Attempts to Write the History of Silent Film Sound
Assumptions and Limitations of the Current Project
2. Crisis Historiography
A New Kind of History
Anatomy of an Identity Crisis
Part II: The Late-Nineteenth-Century Soundscape
3. The Musical Scene
4. Lecture Logic
Part III: Early Film Sound
5. From Peep Show to Projection
6. Vaudeville
Part IV: Nickelodeon Sound
7. The Crisis of the Late Aughts
8. Lectures, Sound Effects, and the Itinerant Exhibition Model
9. Films That Talk
10. The Nickelodeon Program
11. Nickelodeon Music
Part V: The Campaign to Standardize Sound
12. Trade Press Discourse
13. Music for Films
14. Training Musicians, Training Audiences
Part VI: The Golden Era of Silent Film Music
15. Moving Picture Orchestras Come of Age
16. New Roles for Keyboard Instruments
17. Cue Sheets and Photoplay Music
18. Musical Practices
Conclusion