WPC +ܢ /*AN "mvB#iG'e-5Ymp !z\t5]@@ΛDТ K&F(vkA--NiHpj@] !ŖUNY[7f5AԈ\a#E=JqU0ɵ*-A=4JL`9€{1BXp^ zxitOބJ85@J{%ܜ!#|R"5qd {3zK؇JL,uD,,i̙Mٰ.hzdܓr*`"iC(f+u!k4;* H^ 3#踞َ*کd: i2) seREp[Gl]ۖR`#&UN %5 0:; Shu 1 72d 1u 72  0b=w 0VT l^ vw4 mTHP DeskJet 690C Series v11.00,,,,00(9 Z6Times New Roman RegularX($USUS., ,'0u,SKTOP,{) (5hCEKQW]cioAutoList1I.I.I.I.I.I.I.I.I.3#37=CIQYag1.a.i.(1)(a)(i)1)a)i)(:Hg$25h   .3  0   m  'USUS.,  _ (#Smith  1  (.3$ !USUS.,  {)L la) k13|xU !USUS.,  _ @SoundComestotheMovies   @)by `  @00%JohnSmith   @$Humanities1$ $  @NN&Mr.Nolan H&" @"November26,2000  ' $ 4 @$$"TableofContents 4 !!G(#Page  X  (5h83" Hg"   Hg25h  I  .3  0    Introduction""J(#(#(#1 Hg݌   Ќ  " Hg"   Hg25h  II  .3  0    ReviewofLiterature""J(#(#(#2 Hg݌  x Ќ  " Hg"   Hg25h  III  .3  0    Procedure""J(#(#(#7 Hg݌ <  Ќ  " Hg"   Hg25h  IV  .3  0    DiscussionandResults`"`"I(#(#(#10 Hg݌   Ќ  " Hg"   Hgs25h  V  .3  0    ChartsandGraphs`"`"I(#(#(#13 Hgs݌ \(  Ќ  " Hg"   Hg`25h  VI  .3  0    Endnotes(Ifrequired)`"`"I(#(#(#14 Hg`݌   Ќ  " Hg"   HgS25h  VII  .3  0    WorksCited`"`"I(#(#(#15 HgS݌  |H  Ќ  X4 l@SoundComestotheMovies  @#I.Introduction P   Silentmovies,popularfromtheearly1900'stoabout1930,wereneverreallysilent.  Audiencesusuallyenjoyedbackgroundmusic,oftenprovidedbyatheaterorganorragtimepiano, 8 astheywatchedtheactiononthescreen.Atappropriatetimes,thesoundsofthunder,waterfalls,  orstampedinghorseswerecreatedfromtheorchestrapitbyhidden_stagehands_Ԁwhorattled, X scraped,andbangedallsortsofobjectstogether.Singerssometimesperformedasongwritten 8 especiallyforthemovie,oractorstouredwiththsfilmtospeakportionsofthedialogue.Noneof x! thesesounds,however,camefromthefilmitself;forthisreason,thefilmswerecalled"_silents_"  X# (Steen21). !%   Thetalkingmovieideawasanoldone.In1877,ThomasEdisonshowedhisnewtalking (#x' machine,thephonograph,toagroupofreporters.Onewassoimpressedthathemadethe $ ) followingpredictionsintheScientificAmerican: H&!+ 8  Itisalreadypossiblebyingeniousopticalcontrivancestothrowstereoscopic '(#- photographsofpeopleonthescreeninfullviewoftheaudience.Addthetalking h)$/ phonographtocounterfeittheirvoices,anditwouldbedifficulttocarrythe *H&1 illusionofrealpresencemuchfurther(_Geldud_Ԁ96).,'3   This"illusionofrealpresence"wastobethegoalofscientistsandinventorsforthenextfifty .h)5 years.Beforeactorsonthescreenwouldactuallyspeaktotheaudience,however,awaytolink  filmandsoundhadtobefound.In1895,ThomasEdisonmadeoneofthefirstattemptstodoso @ withamachinecalleda"_kinetophone_."The_kinetophone_ԀconnectedEdison'sphonographwith   anothermachinethatprojectedfilmforoneperson-akindofpeepshow.However,this `  experimentdidnotresultinsoundscomingtothemoviesfortworeasons.Inthefirstplace,  @ Edisonwasunabletosynchronize,ormatch,thefilmwiththesound.Also,hefailedtodevelopa    meanstoamplify,orincrease,thesound,sothatitcouldbeheardbyalargeraudience. `  DiscouragedEdisonabandonedhis_kinetophone_Ԁprojectin1913(_Manchel_,WhenMovies208).     Meanwhile,otherscientistswereexperimentingwithadifferentmethodoflinkingsound 0  withfilm:thesound-on-filmprocess,inwhichelectricalcurrentsareusedtocapturethesound  directlyonphotographicfilm.FrederickThrasher,authorofOkayforSound,providesthe P followingexplanationoftheprocess: 0 8  Whenthesoundisreproduced,aphotoelectriccellisusedtoconvertthe p variationsinthelightbeamasitpassesthroughthe"soundtrack"ofthemoving P film,intoelectricalcurrentswhichinturnarechangedintosoundatthe  loudspeakers(Thrasher7). p   Althoughinventorswouldcontinuetoexperimentwithseparatesoundandfilmdevices,the   sound-on-filmprocessprovedmoresuccessful.Becausethesoundwascaptureddirectlyonthe @" film,theprocesseliminatedonemajorobstacletotalkingmotionpictures-thatof  $ synchronization(Thrasher44). `"&   Theothergreatobstacle-thatofamplifyingsound-wassurmountedbyaninventor #@( namedLeeDeForestin1907.Oftencalled"Thefatheroftheradio",DeForestinventedan % * amplifiertubethatallowedsoundtobemade  '`", l@$WorksCited 4 0   Abrams,Joseph.ATechnologicalHistoryofMotionPicturesandTelevision.Berkeley:  X UniversityofCaliforniaPress,1967. (#(# 0   Frazier,AnthonyP. SoundintheMovies:ACapsuleHistory."ModernPhotographyJan.1971:  x 48.< (#(# 0   _Geldud_,HarryM.TheBirthoftheTalkies.Bloomington:IndianaUniversityPress,1975. (#(# 0   GoingBehindtheScreen."Newsweek26Feb.1983:23-28.\( (#(# 0   _Manchel_,Frank.WhenMoviesBegantoSpeak.EnglewoodCliffs,N.J.:Prentice-Hall,Inc.,   1988.|H (#(# 0   ---.WhenPicturesBegantoMove.EnglewoodCliffs,N.J.:Prentice-Hall,Inc.,1989. (#(# 0   "Movies."Encyclopedia_Brittanica_.1979ed.h(#(# 0   0(#(#  Steen,Michael,ed.HollywoodSpeaks!AnOralHistory.NewYork:G.P._Putnman_'sSons,1984.,(#(# 0   Thrasher,Frederick.OkayforSound.NewYork:_Duell_,Sloane,andPearce,i986.(#(# 0   Walker,Alexander,EdwardNutting,andLawrenceBradshaw.TheShattered_Silents_:Howthe L TalkiesCametoStay.LosAngeles:WilliamMorrowandCompany,1989.(#(# 0   WhenMoviesTalked.Boston:UniversityPress,1965.l 8(#(# 0   Young,Jane.PersonalInterview.25Oct.1988.