Theory of the film : (character and growth of a new art) (1952)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




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.

202 SOUND INFLUENCE OF ACCOMPANYING MUSIC Sometimes the dramaturgical role of sound is indirect. A soldier is taking leave from a girl. The battlefield is near and the noise of bursting shells can be heard. The scene of leavetaking might have been shot without acoustic accompaniment. But it would certainly have taken a different turn. For the girl, starting at every shell-burst, influenced by the pictures conjured up by the danger, makes admissions which she would certainly not have made in a comfortable, safe, cosy room, or possibly not even have become conscious of them at all. A BATTLE OF SOUNDS The young film production of Italy uses very fine, interesting dramaturgical sound effects, showing thereby once more that it is in the first rank of those who are now striving to recreate the film as an art. In Luigi Zampa's excellent antiFascist film Vivere in pace the great central scene is built upon purely acoustic effects. A German corporal comes to the house of the Italian peasant who is harbouring a wounded American negro soldier. The negro must be hidden away quickly. In their hurry they can find no better place than the wine-cellar. The German is feeling very comfortable, however, and stays on and on and cannot be induced to go. He asks for food and drink. He wants to have a good time. The Italian peasant and his family sit silent and yawning, trying to get rid of the German by boredom. But suddenly funny noises are heard from the wine-cellar. The negro, tired of being shut up in the cold and dark, has broached a cask of wine and got drunk. The German pricks up his ears. Suddenly the Italian peasants break into noisy cheerfulness, in order to drown the dangerous noise. The drunken negro smashes up everything in the cellar. The gentle, sober old peasant and his elderly wife begin to shout songs, yell, and dance and drag the German into a noisy debauch. They compete desperately with the noises from the cellar. What follows is a battle between noises, a diabolical scene, which grows all the more exciting as the negro who has run amok in the cellar, is trying