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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 ...
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 ...
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 ...