"MUSIC FOR SILENT FILMS/USA" . . "Cinéma États-Unis 1895-1929." . . "Musique de film muet États-Unis." . . "Cinema mut Història i crítica." . . "SOUND EFFECTS" . . "Película, Música de" . . "Stummfilm." . . "Filmmuziek." . . "Motion pictures Sound effects History." . . "Musique de film États-Unis Histoire." . . "Stomme films." . . "Films muets Accompagnement (Narration) Histoire." . . "Cinéma Son Histoire." . . "Història." . . "Cinema mut." . . "United States." . . "Musica per cinematografo." . . "Cinéma américain" . . "Cinéma américain." . "Stummfilm Filmmusik Geschichte 1894-1929." . . "Filmmusik Stummfilm Geschichte 1894-1929." . . "Son" . . "Son." . "Musique de film" . . "Musique de film." . "Verenigde Staten van Amerika." . . "Musique" . . "Musique." . "Films muets Accompagnement (Musique) Histoire." . . "cinéma muet américain (Etats-Unis) son 19e s. (fin) / 20e s. (début)" . . "Film." . . "Cinéma Effets sonores Histoire." . . "Motion picture music." . . "Narration de films muets États-Unis." . . "Cinematografo sonoro." . . "Música de pel·lícules." . . "Cinema mut Música." . . "USA/1895-1930" . . "Film, Musique de États-Unis Histoire et critique." . . "Cinéma Effets sonores 1895-1929." . . "Narration for silent films United States." . . "Motion pictures Sound effects." . . "Motion picture music United States History and criticism." . . "cinéma muet américain (Etats-Unis) musique de film 19e s. (fin) / 20e s. (début)" . . "USA." . . "USA" . "Cinematografo muto Stati Uniti Storia." . . "PERFORMING ARTS / Film & Video / History & Criticism" . . "Film muet" . . "Film muet." . "Narration" . . "Narration." . "Cultuurgeschiedenis." . . "Musique de film muet." . . "Filmmusik." . . "Geluid." . . "Narration for silent films." . . . . "Ton Film USA Geschichte." . . "Stummfilm Erzähler Geschichte 1894-1929." . . "Películas mudas Historia" . . "Film Ton USA Geschichte." . . "accompagnement (musique) cinéma muet américain (Etats-Unis) 19e s. (fin) / 20e s. (début)" . . "Ton (Akustik)" . . "Films muets États-Unis Histoire et critique." . . "Silent films United States History and criticism." . . "Silent films." . . "Cinéma Effets sonores États-Unis Histoire." . . "Stummfilm USA Geschichte." . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Criticism, interpretation, etc" . "Criticism, interpretation, etc"@en . . "History" . "History"@en . . . . . . . . . . . . . . . . . . . . . . . . . "Overview: Because silent cinema is widely perceived as having been exactly that-silent-no one has fully examined how sounds 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 the burgeoning cinema industry, who successfully argued that accompaniment should enhance 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 cinema sound would favor accompaniment that worked in concert with cinema story-telling. 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."@en . . . . . . . . . . . . . . . . . . . . . . . . . "Electronic books"@en . . . . . . . "Overview: Because silent cinema is widely perceived as having been exactly that-silent-no one has fully examined how sounds 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 the burgeoning cinema industry, who successfully argued that accompaniment should enhance 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 cinema sound would favor accompaniment that worked in concert with cinema story-telling. 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." . . "Overview: Because silent cinema is widely perceived as having been exactly that-silent-no one has fully examined how sounds 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 the burgeoning cinema industry, who successfully argued that accompaniment should enhance 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 cinema sound would favor accompaniment that worked in concert with cinema story-telling. 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 -- [source inconnue]." . "Silent film sound"@en . "Silent film sound" . . .