This article attempts to record some of the faint echoes left from the days of silent cinema in New Zealand. Sound has been an integral part of cinematic experience in New Zealand since the very first exhibitions during 1895 but the acoustic dimension of film has been little explored by local historians and media scholars. Cinema audiences listened as much as they watched and these sounds were generated by many sources from gramophones to orchestras. This article concentrates on just one aspect of this richly polyphonic cinematic soundscape: the human voice. Through a discussion of the ways in which lecturers, actors, and audiences used their voices as films were played, this article recovers important aspects of how films were experienced ...
This thesis recognizes the introduction of synchronized sound cinema as a point of departure into a ...
Sound Effect tells the story of the effect of theatrical aurality on modern culture. Beginning with ...
The introduction of synchronised sound to the British film industry presents a watershed moment in t...
This study is an inquiry into how New Zealand’s national cinema represents the local aural geography...
This article identifies silent film soundtracks as evidence of the tensions between old and new audi...
Peter Hoar provides a fascinating and informative account of the role of sound and listening in the ...
Since the late 19th century there have been issues with the presentation and reception of sound and ...
Looking at early examples of amateur filmmaking from the period 1923-1939, which have been deposited...
This chapter analyses the distinctiveness of the coming of permanent sound (the talkies) to the Aust...
Silent movies did not have any talking or music in them but they left indelible traces to this day, ...
The histories of New Zealand and Australian film production, distribution and exhibition have been c...
The 1920s and 30s marked an important time in cinema\u27s evolution, when the general public accepte...
The Oxford Handbook of Cinematic Listening explores how “cinematic” and “listening” practices have s...
How can a voice whose source is never seen—such as Hal in 2001: A Space Odyssey or the mother of Nor...
A presentation as part of a panel entitled Silent Cinema and the Transition to Sound, given at Sensi...
This thesis recognizes the introduction of synchronized sound cinema as a point of departure into a ...
Sound Effect tells the story of the effect of theatrical aurality on modern culture. Beginning with ...
The introduction of synchronised sound to the British film industry presents a watershed moment in t...
This study is an inquiry into how New Zealand’s national cinema represents the local aural geography...
This article identifies silent film soundtracks as evidence of the tensions between old and new audi...
Peter Hoar provides a fascinating and informative account of the role of sound and listening in the ...
Since the late 19th century there have been issues with the presentation and reception of sound and ...
Looking at early examples of amateur filmmaking from the period 1923-1939, which have been deposited...
This chapter analyses the distinctiveness of the coming of permanent sound (the talkies) to the Aust...
Silent movies did not have any talking or music in them but they left indelible traces to this day, ...
The histories of New Zealand and Australian film production, distribution and exhibition have been c...
The 1920s and 30s marked an important time in cinema\u27s evolution, when the general public accepte...
The Oxford Handbook of Cinematic Listening explores how “cinematic” and “listening” practices have s...
How can a voice whose source is never seen—such as Hal in 2001: A Space Odyssey or the mother of Nor...
A presentation as part of a panel entitled Silent Cinema and the Transition to Sound, given at Sensi...
This thesis recognizes the introduction of synchronized sound cinema as a point of departure into a ...
Sound Effect tells the story of the effect of theatrical aurality on modern culture. Beginning with ...
The introduction of synchronised sound to the British film industry presents a watershed moment in t...