Now showing items 1-10 of 10
Almost, If Not Quite, As Good as the W.E.: On Sound Apparatus, 1929-1930
1929 and 1930 were years of concentrated change within the British film exhibition industry. Sound cinema had quickly established itself as the essential attraction of the time, and cinemas throughout the country swiftly ...
The Evaluation of Audio in Britain in Early Sound Cinema
The coming of sound was a swift and decisive moment in cinema history. In the space of half a decade, the paradigms for film production and exhibition underwent a sea change largely unparalleled elsewhere in the medium’s ...
The Conversion to Sound of the Kingsway and the Ideal Cinemas in King's Heath, 1929-1932
Business records constitute a fundamental source of primary empirical evidence, which illuminate the granular details that collectively form wider regional and national trends. Their rarity has meant that each discovery ...
Here to Stay: Sound Becomes Inevitable in 1928-1930
During the years of transition to sound, no-one had any real idea as to what the lasting impact of the new talking picture would be. Amidst confusion and scepticism amongst film producers and exhibitors alike about the ...
Invasion: Legitimate Language and the Coming of Sound in the Nottingham Evening Post, 1928-1930
Historians tend to place the arrival of sound cinema within the public experience in 1927, with the American premiere of The Jazz Singer. Yet British audiences did not hear the talkies until the film’s London premiere in ...
Britain’s Screen Inferiority Complex: Union and Institutional Responses to the Coming of Sound, 1929-35
Sound cinema came to Britain and the rest of Europe during a period of general decline in national film industry. The end of the First World War had seen capital and investment in British filmmaking decrease, bolstered by ...
'The Americanisation of England’ Anti- American sentiment and the arrival of the Talkies'
The arrival of synchronised sound films in Britain between 1928 and 1930 gave a boost to the anti-American sentiment that had been bubbling under the surface for some time. Hollywood films had dominated the British box ...
Okay for Sound? The reception of the early Talkies in Britain
A review of the various ways in which early sound films were received in Britain from the popular press, to fan magazines, literary critics, public intellectuals and modernist writers like Dorothy Richardson. The reception ...
The problem of the female voice: Women working in the transition between silent and sound film in Britain
This presentation will look at the ways in which women in the British film industry contributed to the transition between silent and sound cinema. It will look at issues that affected their roles both in front of, and ...
A Cottage on Dartmoor (Anthony Asquith, UK, 1929)
A presentation prior to a public screening at the MacRobert's Arts Centre at the University of Stirling as part of the British Silent Cinema and the Transition to Sound symposium 23-24 May 2016