We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
METHODS OF EXPRESSION OF DRAMATIC CONTENT
attempts have been made during the last few years to meet this requirement of a specially composed score, notable instances being Edmond Meisel's music for Berlin, October, and Potemkin, and that by Darius Milhaud for l'Herbier's U Inhumaine . Herr Meisel has also written a score for mechanical reproduction, The Crimson Circle y which was a moderately successful experiment. The obvious difficulties of circulating music for orchestras and the varying quality of the latter have rendered these attempts limited, except in the cases of the theme song, which was considered a part of the popular appeal of a movie and has been exploited widely by American firms. The mechanical reproduction of the sound film, however, admirably fulfils this desire for a specially composed score, and on this count alone is to be welcomed as a definite step forward in the advance of the film. Assuming the perfection of mechanical reproduction the synchronised score is better suited in every way to the presentation of a film than the orchestral accompaniment of the past.
Sound, then, has to be considered as a means of dramatic expression of the content of the theme, in conjunction with the succession of visual images on the screen. It must be realised, however, that in the case of the sound film, the combination lies between sound and sight, and not, as in the dialogue film, between speech and sight. The differences are apparent. Sound has not to be understood literally as has dialogue, and does not interfere with the visual appeal of the screen. On the other hand, it inclines, if used rightly, to emphasise and strengthen the meaning of the visual image. It is essential to realise the importance of this difference between the sound of objects and the sound of speech, for therein lies the essence of the advance or the retardment of the cinema. It is to be clearly understood, also, that the question of filmic time and actual time, so damaging in the dialogue film, does not enter into the matter of the sound film. Sound is the result of the action seen in the visual image, which is not lengthened or altered in any way to suit the sound, as must be the case with reproduced dialogue.
Thus, although built into the construction of the film, sound does not interfere with the visual reception of the images. There are now sound images as well as visual images, each of which will express the same dramatic content in harmony, or in contrast, one with another. Sound images that are recorded during the taking of the visual
309