sound film

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  • noun

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motion-picture film with sound effects and dialogue recorded on it

References in periodicals archive ?
This practice originates directly from the operatic tradition and it is sustained until this day although nowadays we produce Sound Films.
It was possible to implement new filmic devices because of recent technological improvements: Aoi no ue was a sound film, shot at normal speed, with multiple cameras that pan and zoom from the point of view of the audience, showing the stage from both the front and the side.
Rachel Hargreaves, 18, Roath, trainee manager at Schuh "Django Unchained was a sound film, it was just really funny with people's heads exploding - awesome.
There is, to be sure, a distinguished and extensive scholarship on film history and aesthetics in Brazil, written in both Portuguese and English, and Conde makes due reference to them, from Ismail Xavier's cultural analysis to Flora Susskind's analysis of the technical aesthetics of film in Brazil as part of the Modernist project beginning in the 1920s, which is the definitive triumph of filmmaking with that project and its shift toward Sao Paulo as the new dynamic axis of Brazilian culture and the development of sound film which makes it a viable capitalistic enterprise.
Shouldn't one radically break the frame of a sound film by directly addressing the audience, by turning to them with the help of loudspeakers?
The storyline is self-consciously trite, just a scaffold on which Hazanavicius has built a highly entertaining meditation on his medium, recalling early responses to the sound film.
Jannings also stars in Josef von Sternberg's "The Blue Angel," the film that put Marlene Dietrich on the map and which is widely considered to be the first major German sound film.
Chion's strident taxonomizing becomes particularly frustrating when it is followed by such enigmatic claims as "[t]he sound film has the flexibility to let words just be words" (357).
Devika Rani was the star and late manager of Bombay Talkies, from where she dominated the first decade of the Indian sound film and set the standard for the post 1950 Hindi film heroine.
This weaves together sound works from over the century, from Edison's first sound film in 1895 to those of today.
Neame spent more than 60 years working in the film industry, starting out as a cameraman for Alfred Hitchcock on the first British sound film, Blackmail, in 1929.
Trumpeted as the earliest Yiddish sound film, this picture reveals Maurice Schwartz as an actor of effortless presence, with a rich, textured voice and piercing eyes under heavy lids.
In the first two chapters, Cooke examines the silent era and the early years of sound film.
The authors present a study of the Kid to include dimensions "that speak to the bilingual-bicultural person who is knowledgeable about Hispanic culture" starting with the 1929 sound film In Old Arizona where the fictional character was endowed with a Latino persona.
He begins with "silent" film, then moves to early sound film and classic Hollywood movies, ending with film music from 1958 to 2008.