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5. A sound film is a motion picture with synchronized sound, or sound technologically coupled to image, as opposed to a silent film. The first known public exhibition of.

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Sound film - Wikipedia. Gaumont's sound films. The Chronomégaphone, designed for large halls, employed compressed air to amplify the recorded sound.[1]A sound film is a motion picture with synchronized sound, or sound technologically coupled to image, as opposed to a silent film. The first known public exhibition of projected sound films took place in Paris in 1.

Reliable synchronization was difficult to achieve with the early sound- on- disc systems, and amplification and recording quality were also inadequate. Innovations in sound- on- film led to the first commercial screening of short motion pictures using the technology, which took place in 1. The primary steps in the commercialization of sound cinema were taken in the mid- to late 1. At first, the sound films which included synchronized dialogue, known as "talking pictures", or "talkies", were exclusively shorts. The earliest feature- length movies with recorded sound included only music and effects.

The first feature film originally presented as a talkie was The Jazz Singer, released in October 1. Watch The Phoenix Incident HDQ. A major hit, it was made with Vitaphone, which was at the time the leading brand of sound- on- disc technology.

Sound- on- film, however, would soon become the standard for talking pictures. By the early 1. 93.

In the United States, they helped secure Hollywood's position as one of the world's most powerful cultural/commercial centers of influence (see Cinema of the United States). In Europe (and, to a lesser degree, elsewhere), the new development was treated with suspicion by many filmmakers and critics, who worried that a focus on dialogue would subvert the unique aesthetic virtues of soundless cinema. In Japan, where the popular film tradition integrated silent movie and live vocal performance, talking pictures were slow to take root. In India, sound was the transformative element that led to the rapid expansion of the nation's film industry. History[edit]Early steps[edit]The idea of combining motion pictures with recorded sound is nearly as old as the concept of cinema itself. On February 2. 7, 1. Eadweard Muybridge gave a lecture not far from the laboratory of Thomas Edison, the two inventors privately met.

Muybridge later claimed that on this occasion, six years before the first commercial motion picture exhibition, he proposed a scheme for sound cinema that would combine his image- casting zoopraxiscope with Edison's recorded- sound technology.[2] No agreement was reached, but within a year Edison commissioned the development of the Kinetoscope, essentially a "peep- show" system, as a visual complement to his cylinderphonograph. The two devices were brought together as the Kinetophone in 1. In 1. 89. 9, a projected sound- film system known as Cinemacrophonograph or Phonorama, based primarily on the work of Swiss- born inventor François Dussaud, was exhibited in Paris; similar to the Kinetophone, the system required individual use of earphones.[4] An improved cylinder- based system, Phono- Cinéma- Théâtre, was developed by Clément- Maurice Gratioulet and Henri Lioret of France, allowing short films of theater, opera, and ballet excerpts to be presented at the Paris Exposition in 1.

These appear to be the first publicly exhibited films with projection of both image and recorded sound. Watch Lone Wolves Download Full. Phonorama and yet another sound- film system—Théâtroscope—were also presented at the Exposition.[5]Three major problems persisted, leading to motion pictures and sound recording largely taking separate paths for a generation. The primary issue was synchronization: pictures and sound were recorded and played back by separate devices, which were difficult to start and maintain in tandem.[6] Sufficient playback volume was also hard to achieve. While motion picture projectors soon allowed film to be shown to large theater audiences, audio technology before the development of electric amplification could not project satisfactorily to fill large spaces. Finally, there was the challenge of recording fidelity.

The primitive systems of the era produced sound of very low quality unless the performers were stationed directly in front of the cumbersome recording devices (acoustical horns, for the most part), imposing severe limits on the sort of films that could be created with live- recorded sound.[7]Cinematic innovators attempted to cope with the fundamental synchronization problem in a variety of ways. An increasing number of motion picture systems relied on gramophone records—known as sound- on- disc technology; the records themselves were often referred to as "Berliner discs", after one of the primary inventors in the field, German- American Emile Berliner. In 1. 90. 2, Léon Gaumont demonstrated his sound- on- disc Chronophone, involving an electrical connection he had recently patented, to the French Photographic Society.[8] Four years later, Gaumont introduced the Elgéphone, a compressed- air amplification system based on the Auxetophone, developed by British inventors Horace Short and Charles Parsons.[9] Despite high expectations, Gaumont's sound innovations had only limited commercial success—though improvements, they still did not satisfactorily address the three basic issues with sound film and were expensive as well. For some years, American inventor E.

E. Norton's Cameraphone was the primary competitor to the Gaumont system (sources differ on whether the Cameraphone was disc- or cylinder- based); it ultimately failed for many of the same reasons that held back the Chronophone.[1. In 1. 91. 3, Edison introduced a new cylinder- based synch- sound apparatus known, just like his 1. Kinetophone; instead of films being shown to individual viewers in the Kinetoscope cabinet, they were now projected onto a screen. The phonograph was connected by an intricate arrangement of pulleys to the film projector, allowing—under ideal conditions—for synchronization. However, conditions were rarely ideal, and the new, improved Kinetophone was retired after little more than a year.[1.

By the mid- 1. 91. Beginning in 1. 91. The Photo- Drama of Creation, promoting Jehovah's Witnesses' conception of mankind's genesis, was screened around the United States: eight hours worth of projected visuals involving both slides and live action were synchronized with separately recorded lectures and musical performances played back on phonograph.[1.

Meanwhile, innovations continued on another significant front. In 1. 90. 7, French- born, London- based Eugene Lauste—who had worked at Edison's lab between 1.

As described by historian Scott Eyman,It was a double system, that is, the sound was on a different piece of film from the picture.. In essence, the sound was captured by a microphone and translated into light waves via a light valve, a thin ribbon of sensitive metal over a tiny slit.

The sound reaching this ribbon would be converted into light by the shivering of the diaphragm, focusing the resulting light waves through the slit, where it would be photographed on the side of the film, on a strip about a tenth of an inch wide.[1. Though sound- on- film would eventually become the universal standard for synchronized sound cinema, Lauste never successfully exploited his innovations, which came to an effective dead end. In 1. 91. 4, Finnish inventor Eric Tigerstedt was granted German patent 3.

Berlin.[1. 4] Hungarian engineer Denes Mihaly submitted his sound- on- film Projectofon concept to the Royal Hungarian Patent Court in 1.