Instruct: Given a question, retrieve passages that can help answer the question.
Query: When did sound in film first show up?
The beginning of the sound era itself is ambiguously defined. To some, it began with "The Jazz Singer", which was released in 1927 and increased box-office profits for films, as sound was introduced to feature films. To others, the era began in 1929, when the silent age had definitively ended. Most Hollywood pictures from the late 1920s to 1960s adhered closely to a genre—Western, slapstick comedy, musical, animated cartoon, and biopic (biographical picture)—and the same creative teams often worked on films made by the same studio. For instance, Cedric Gibbons and Herbert Stothart always worked on MGM films; Alfred Newman worked at Twentieth Century Fox for twenty years; Cecil B. DeMille's films were almost all made at Paramount Pictures; and director Henry King's films were mostly made for Twentieth Century Fox. Similarly, actors were mostly contract players. Film historians and critics note that it took about a decade for films to adapt to sound and return to the level of artistic quality of the silents, which it did in the late 1930s.
Thomas A. Edison invented the phonograph, the first device for recording and playing back sound, in 1877. After patenting the invention and benefiting from the publicity and acclaim it received, Edison and his laboratory turned their attention to the commercial development of electric lighting, playing no further role in the development of the phonograph for nearly a decade. Edison's original phonograph recorded on sheets of tinfoil and was little more than a crude curiosity, although one that fascinated much of the public. These earliest phonographs were sold mainly to entrepreneurs who made a living out of traveling around the country giving "educational" lectures in hired halls or otherwise demonstrating the device to audiences for a fee. The tinfoil phonograph was not fit for any real practical use and public interest soon waned.
In 1857, Édouard-Léon Scott de Martinville invented the phonautograph, the first device that could record sound waves as they passed through the air. It was intended only for visual study of the recording and could not play back the sound. The recording medium was a sheet of soot-coated paper wrapped around a rotating cylinder carried on a threaded rod. A stylus, attached to a diaphragm through a series of levers, traced a line through the soot, creating a graphic record of the motions of the diaphragm as it was minutely propelled back and forth by the audio-frequency variations in air pressure.
In Chapter Three, North considers "Close Up", the European film magazine published in Switzerland "with the more-or-less constant assistance of H.D." from 1927 to 1933. Noting the "considerable convergence of the literary world and the no longer quite so new medium of the movies" by 1927, North furthers his examination of international modernism's struggle with sound by pursuing the introduction of sound technology into silent cinema as a revealing moment in the history of globalization. Hollywood's attempts to cope with "the foreign problem", or that 9/10 of the world's population in 1927 did not speak English, often by shooting films in five different languages, are contrasted with utopian strategies advanced by the avant-garde that attempted to bring about an international film culture of the future based on global multilingualism or even Esperanto. In Chapter Two, North argued that sound came just as critics were raising silent film to the status of art, and here he shows how these two instances of perceived contamination, sound as intruder into the autonomous visuality of film and sound as divisive force in the international medium of the eye, often inflected or contradicted one another in the pages of the magazine. North concludes by stating: ""Close Up" registers an awareness in modernism of the strangeness opened up within ordinary experience by the new media, which, instead of establishing a new universal language, had exposed the inherent unfamiliarity of languages long in use."
In 1928, to recover from the loss of Oswald the Lucky Rabbit, Disney came up with the idea of a mouse character named Mortimer while on a train headed to California, drawing up a few simple drawings. The mouse was later renamed Mickey Mouse (Disney's wife, Lillian, disliked the sound of 'Mortimer Mouse') and starred in several Disney produced films. Ub Iwerks refined Disney's initial design of Mickey Mouse. Disney's first sound film "Steamboat Willie", a cartoon starring Mickey, was released on November 18, 1928 through Pat Powers' distribution company. It was the first Mickey Mouse sound cartoon released, but the third to be created, behind "Plane Crazy" and "The Gallopin' Gaucho". "Steamboat Willie" was an immediate smash hit, and its initial success was attributed not just to Mickey's appeal as a character, but to the fact that it was the first cartoon to feature synchronized sound. Disney used Pat Powers' Cinephone system, created by Powers using Lee de Forest's Phonofilm system. "Steamboat Willie" premiered at B. S. Moss's Colony Theater in New York City, now The Broadway Theatre. Disney's "Plane Crazy" and "The Gallopin' Gaucho" were then retrofitted with synchronized sound tracks and re-released successfully in 1929.
Works of literature have been adapted for film from the dawn of the industry. Some of the earliest examples come from the work of Georges Méliès, who pioneered many film techniques. In 1899, he released two adaptations — "Cinderella" based on the Brothers Grimm story of the same name and "King John", the first known film to be based on the works of Shakespeare. The 1900 film "Sherlock Holmes Baffled", directed by Arthur Marvin featured Arthur Conan Doyle's detective character Sherlock Holmes intruding upon a pseudo-supernatural burglary. The film, considered the first detective movie, ran for only 30 seconds and was originally intended to be shown in hand-cranked Mutoscope machines.
The first microphone that enabled proper voice telephony was the (loose-contact) carbon microphone (then called transmitter). This was independently developed around 1878 by David Edward Hughes in England and Emile Berliner and Thomas Edison in the US. Although Edison was awarded the first patent in mid-1877, Hughes had demonstrated his working device in front of many witnesses some years earlier, and most historians credit him with its invention.
The name "Mickey Mouse" was first used in the films' title sequences to refer specifically to the character, but was used from 1935 to 1953 to refer to the series itself as in "Walt Disney presents a Mickey Mouse." In this sense "a Mickey Mouse" was a shortened form of "a Mickey Mouse sound cartoon" which was used in the earliest films. Films from 1929 to 1935 which were re-released during this time also used this naming convention, but it was not used for the three shorts released between 1983 and 1995 ("Mickey's Christmas Carol", "The Prince and the Pauper", and "Runaway Brain"). Mickey's name was also used occasionally to market other films which were formally part of other series. Examples of this include several "Silly Symphonies", "Don Donald" (1937), and "Goofy and Wilbur" (1939).
"Mickey Mouse" began production in April 1928 after the Disney studio lost the license to Oswald the Lucky Rabbit. The first two films, "Plane Crazy" and "The Gallopin' Gaucho", were previewed in theaters but failed to pick up a distributor. For the third film, Disney added synchronized sound, a technology that was still in its early stages at the time. "Steamboat Willie" debuted in New York in November 1928 and was an instant success. The revenues from the film provided the studio with much needed resources, and the studio quickly began to produce new cartoons as well as releasing sound versions of the first two.
A few months after its United States release, "The Sound of Music" opened in 261 theaters overseas—the first American movie to be completely dubbed in a foreign language, both dialogue "and" music. The German, French, Italian, and Spanish versions were completely dubbed, the Japanese version had Japanese dialogue with English songs, and other versions were released with foreign subtitles. The film was a popular success in every country it opened, except the two countries where the story originated, Austria and Germany. In these countries, the film had to compete with the much-loved "Die Trapp-Familie" (1956), which provided the original inspiration for the Broadway musical, and its sequel "Die Trapp-Familie in Amerika" (1958)—both films still widely popular in German-speaking Europe and considered the authoritative von Trapp story. Austrians took exception to the liberties taken by the filmmakers with regard to the costumes, which did not reflect traditional style, and the replacement of traditional Austrian folk songs with Broadway show tunes. The film's Nazi theme was especially unpopular in Germany, where the Munich branch manager for 20th Century Fox approved the unauthorized cutting of the entire third act of the film following the wedding sequence—the scenes showing Salzburg following the "Anschluss". Robert Wise and the studio intervened, the original film was restored, and the branch manager was fired.
Though spoken recordings were popular in 33⅓ vinyl record format for schools and libraries into the early 1970s, the beginning of the modern retail market for audiobooks can be traced to the wide adoption of cassette tapes during the 1970s. Cassette tapes were invented in 1963 and a few libraries, such as the Library of Congress, began distributing books on cassette by 1969. However, during the 1970s, a number of technological innovations allowed the cassette tape wider usage in libraries and also spawned the creation of new commercial audiobook market. These innovations included the introduction of small and cheap portable players such as the Walkman, and the widespread use of cassette decks in cars, particularly imported Japanese models which flooded the market during the multiple energy crises of the decade.
Though not exactly labeled as such, there were early precedents for "television movies", such as "Talk Faster, Mister", which aired on WABD (now WNYW) in New York City on December 18, 1944, and was produced by RKO Pictures, or the 1957 "The Pied Piper of Hamelin", based on the poem by Robert Browning, and starring Van Johnson, one of the first filmed "family musicals" made directly for television. That film was made in Technicolor, a first for television, which ordinarily used color processes originated by specific networks (most "family musicals" of the time, such as "Peter Pan", were not filmed but broadcast live and preserved on kinescope, a recording of a television program made by filming the picture from a video monitor – and the only (relatively inexpensive) method of recording a television program until the invention of videotape).
The movie "Smith of Minnesota" was released in 1942. The premiere occurred in his home town of Faribault, Minnesota, to the amazement of the locals due to this novelty. However, laughter was heard in the movie house when certain advanced technologies, for that time (direct-dial phones, streetlights, etc.) were seen as part of the scenery—courtesy of being filmed in Hollywood, California.
Initially given a blue color scheme, the TIE fighter models for the first film were grey to better film against a bluescreen; TIE fighters in "The Empire Strikes Back" (1980) and "Return of the Jedi" (1983) shifted back to being a muted blue. Sound designer Ben Burtt created the distinctive TIE fighter sound effect by combining an elephant call with a car driving on wet pavement. In the book "The Sounds of Star Wars", the engine roar is likened to German Junker Ju 87 "Stuka" bombers, who used sirens to frighten civilians on raids. This could have been a possible inspiration for the sound. Combat scenes between TIE fighters and the "Millennium Falcon" and Rebel Alliance X-wing fighters in "Star Wars" were meant to be reminiscent of World War II dogfight footage; editors used World War II air combat clips as placeholders while Industrial Light & Magic completed the movie's special effects. Darth Vader's distinct TIE Advanced x1 in "Star Wars" was designed to make it instantly recognizable, and the TIE Interceptors developed for "Jedi" were designed to look fast, deadly, and frightening.
In the early 1920s, Drs. Walter H. Schottky and Erwin Gerlach co-invented the first ribbon microphone. By turning the ribbon circuit in the opposite direction, they also invented the first ribbon loudspeaker. A few years later, Dr. Harry F. Olson of RCA started developing ribbon microphones using field coils and permanent magnets. The RCA Photophone Type PB-31 was commercially manufactured in 1931, greatly impacting the audio recording and broadcasting industries. Condenser microphones at the time could not compare to its frequency response. Radio City Music Hall employed PB-31s in 1932. The following year, the 44A came on the scene. Its tone and pattern control helped reduce reverberation. Many RCA ribbon models are still in use and valued by audio engineers.
In early 2013, the company launched the documentary short “Bob the Baker,” the first film in what would become the company's. Once Films would go on to produce 5 more films in the series in 2014 while growing its rolodex of clients and hiring several full-time staffers. By the end of 2015, Once Films had completed nearly 200 films for projects in the St. Louis area and across the country.
In January 1951, WKY-TV became the first station in the U.S. to provide coverage of state legislature sessions, which were conducted from the Oklahoma State Capitol twice a week. Channel 4 claimed to have made the fastest showing of any sound on film ever to have been processed and aired on television at the time, when on February 8, 1952, WKY-TV aired anchor John Field's introductory remarks that were filmed 15 minutes prior to that evening's newscast. The Houston film processor used by the station allowed WKY-TV to broadcast news coverage only a few hours after it was shot on-scene. The station is also purported to be the first in the U.S. to allowed access to film a court proceeding on December 13, 1953, while covering the trial of accused murderer Billy Eugene Manley. A WKY-TV film crew (led by reporter Frank McGee) was placed in a specially constructed, enclosed booth in the rear of the trial's courtroom at the Oklahoma County Courthouse, with a microphone hidden near the front of the court recording the proceedings. A small button was placed on the desk of Judge A. P. Van Meter to allow him to automatically discontinue operation of the cameras at any time. The swearing in of the jury, some testimony and Manley's sentencing was filmed for later news broadcasts.
In 1977, Freeman became the first hospital to use ultrasound in diagnostic services and nuclear medicine.
The origin of SM57 may be traced to 1937, when Shure engineer Benjamin Bauer developed the first single-element directional microphone, the Unidyne, which had a cardioid pickup pattern. In 1959, another Shure engineer, Ernie Seeler, advanced the art of microphone design significantly with the Unidyne III. Seeler torture-tested the Unidyne III during three years of research and development and thereby, produced the SM series of rugged and reliable Shure microphone capsules. The "SM" stands for Studio Microphone; Seeler was an aficionado of classical music and expected the SM57 to be used for orchestras. Because he "despised" rock music, the TEC Foundation said that it was "ironic" that the microphone has become "a mainstay of rock music."
Lee de Forest (August 26, 1873 – June 30, 1961) was an American inventor, self-described "Father of Radio", and a pioneer in the development of sound-on-film recording used for motion pictures. He had over 180 patents, but also a tumultuous career—he boasted that he made, then lost, four fortunes. He was also involved in several major patent lawsuits, spent a substantial part of his income on legal bills, and was even tried (and acquitted) for mail fraud. His most famous invention, in 1906, was the three-element "Audion" (triode) vacuum tube, the first practical amplification device. Although De Forest had only a limited understanding of how it worked, it was the foundation of the field of electronics, making possible radio broadcasting, long distance telephone lines, and talking motion pictures, among countless other applications.
Early attempts at digital audio workstations in the 1970s and 1980s faced limitations such as the high price of storage, and the vastly slower processing and disk speeds of the time. In 1978, Soundstream (who had made one of the first commercially available digital audio tape recorders in 1977) built what could be considered the first digital audio workstation using some of the most current computer hardware of the time. The "Digital Editing System", as Soundstream called it, consisted of a DEC PDP-11/60 minicomputer running a custom software package called DAP (Digital Audio Processor), a Braegen 14"-platter hard disk drive, a storage oscilloscope to display audio waveforms for editing, and a video display terminal for controlling the system. Interface cards that plugged into the PDP-11's Unibus slots (the "Digital Audio Interface", or "DAI") provided analog and digital audio input and output for interfacing to Soundstream's digital recorders and conventional analog tape recorders. The DAP software could perform edits to the audio recorded on the system's hard disks and provide effects such as crossfades.
The first commercial recording was made by Oskar Fried with the Berlin State Opera Orchestra in 1924 for Polydor. Along with Symphony No. 4, the Seventh is the most popular Bruckner symphony both in the concert hall and on record.
As the truly pivotal event, Crafton points to the national release of the film's sound version in early 1928—he dates it to January, Block and Wilson to February 4. In March, Warners announced that "The Jazz Singer" was playing at a record 235 theaters (though many could still show it only silently). In May, a consortium including the leading Hollywood studios signed up with Western Electric's licensing division, ERPI, for sound conversion. In July, Warner Bros. released the first all-talking feature, "Lights of New York", a musical crime melodrama. On September 27, "The Jazz Singer" became the first feature-length talking picture to be shown in Europe when it premiered at London's Piccadilly Theatre. The movie "created a sensation", according to British film historian Rachael Low. ""The Jazz Singer" was a turning point [for the introduction of sound]. "The Bioscope" greeted it with, 'We are inclined to wonder why we ever called them Living Pictures.'" The Paris sound premiere followed in January 1929.
This awkward period was fairly short-lived. 1929 was a watershed year: William Wellman with "Chinatown Nights" and "The Man I Love", Rouben Mamoulian with "Applause", Alfred Hitchcock with "Blackmail" (Britain's first sound feature), were among the directors to bring greater fluidity to talkies and experiment with the expressive use of sound (Eyman, 1997). In this, they both benefited from, and pushed further, technical advances in microphones and cameras, and capabilities for editing and post-synchronizing sound (rather than recording all sound directly at the time of filming).
Sound films emphasized black history and benefited different genres more so than silents did. Most obviously, the musical film was born; the first classic-style Hollywood musical was "The Broadway Melody" (1929) and the form would find its first major creator in choreographer/director Busby Berkeley ("42nd Street", 1933, "Dames", 1934). In France, avant-garde director René Clair made surreal use of song and dance in comedies like "Under the Roofs of Paris" (1930) and "Le Million" (1931). Universal Pictures begin releasing gothic horror films like "Dracula" and "Frankenstein" (both 1931). In 1933, RKO Pictures released Merian C. Cooper's classic "giant monster" film "King Kong". The trend thrived best in India, where the influence of the country's traditional song-and-dance drama made the musical the basic form of most sound films (Cook, 1990); virtually unnoticed by the Western world for decades, this Indian popular cinema would nevertheless become the world's most prolific. ("See also Bollywood.")
During the 1920s and 1930s, Japan was one of the world's two largest producers of motion pictures, along with the United States. Though the country's film industry was among the first to produce both sound and talking features, the full changeover to sound proceeded much more slowly than in the West. It appears that the first Japanese sound film, "Reimai" ("Dawn"), was made in 1926 with the De Forest Phonofilm system. Using the sound-on-disc Minatoki system, the leading Nikkatsu studio produced a pair of talkies in 1929: "Taii no musume" ("The Captain's Daughter") and "Furusato" ("Hometown"), the latter directed by Kenji Mizoguchi. The rival Shochiku studio began the successful production of sound-on-film talkies in 1931 using a variable-density process called Tsuchibashi. Two years later, however, more than 80 percent of movies made in the country were still silents. Two of the country's leading directors, Mikio Naruse and Yasujirō Ozu, did not make their first sound films until 1935 and 1936, respectively. As late as 1938, over a third of all movies produced in Japan were shot without dialogue.
"Sounds Unlimited" (initially without the plural) was the first live studio programme broadcast in colour in Australia from 1 March 1975. Many local and international music artists appeared on the show. By May 1978 it was screened on 21 stations across the country. According to Sutherland, "When colour was starting, families would be in the shopping centres on Saturday morning and they would see our show – and a lot of our material was in colour. Not only did that help sell sets, but it also established "Sound Unlimited" in people's minds." It broadcast the final public appearance, on 30 September 1978, of Australian rock'n'roller, Johnny O'Keefe, who died a week later, on 6 October.