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THE GROWTH OF SOUND 31
treated in this manner by United Artists was The Tempest, with John Barrymore. On the other hand, D. W. Griffith's Lady of the Pavements not only continued a musical accompaniment but introduced scenes in which Lupe Velez sang and danced. Shortly afterward there followed Douglas Fairbanks in The Iron Mask, and Mary Pickford in Coquette, both of which were awaited with great interest by movie "fans." In each case these productions introduced dialogue and brought to the cinema the voices of two of screendom's most beloved stars.
About the same time, Warner Brothers became associated in the management of the First National Studios, and as a result of their interest several First National productions were shown with both sound and dialogue. The innovation added materially to the value of First National's productions. The first of these was The Barker, which introduced several talking sequences with telling effect. This was shortly afterward followed by The Divine Lady, featuring Corinne Griffith. Soon Richard Barthelmess, in Weary River, Colleen Moore, Billie Dove and other First National stars added their voices to the screen.
Other organizations such as Universal Pictures Corporation, Columbia Pictures, Incorporated, the Hal Roach Studios, the Christie Film Company, and others, included in their schedules pictures that contained both sound and dialogue. The entire field was won.
V. R. C. A.-Photophone
The first public demonstration of the R. C. A.-Photophone was given under the name of " Kinegraphophone" at the State Theatre in Schenectady, New York, in September of 1927, before an assembled group of newspaper men and technical engineers. The demonstration included a short introductory speech, several musical numbers,