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324 NOTES
38. Rosenheimer, 'They Make Documentaries . . . ," Film News, April 1946, vol. 7, no. 6:10, 23. At the beginning of the sound era, Walter Ruttmann in his Melody of the World delighted in recording the din of traffic, the screech of a saw. These reproductions were as many discoveries.
39. Epstein, "Sound in Slow Motion," in Bachmann, ed., Jean Epstein, 189719 S3; Cinemages, no. 2:44.
40. Clair, Reflexion faite, p. 152.
41. Ibid. p. 152.
42. Rosenheimer, op. cit. p. 23.
43. Cf. Lindgrcn, The Art of the Film, pp. 104-5.
CHAPTER 8
1. Lindgrcn, The Art of the Film, p. 141, mentions that, "when the Lumiere films were shown at the first public exhibition in this country [England] in February 1896, they were accompanied by piano improvisations on popular tunes." See also Cavalcanti, "Sound in Films," films, Nov. 1939, vol. I, no. 1:25.
2. Sadoul, Les Pionniers du cinema, p. 485.
3. London, Film Music, pp. 27-8. Cavalcanti, op. cit. p. 27.
4. Landis and Bollcs, Textbook of Abnormal Psychology, p. 68.
5. Cf. Eisler, Composing for the Films, p. 75.
6. Murphy, Personality . . . , p. 115 n. See also Meyerhoff, Tonfilm und Wirklichkeit,pp.63ft.
7. Eisler, op. cit. p. 78. Cf. Vuillermoz, "La musique des images," L'Art cinematographique, vol. Ill, pp. 47-8, and Lindgrcn, op. cit. pp. 144-5.
8. Epstein, Cinema, p. 106; Balazs, Der sichtbare Mensch, p. 143.
9. Cavalcanti, op. cit. p. 39.
10. Copland, "Tip to Moviegoers . . . ," The New York Times Magazine, Nov. 6, 1949.
11. Dahl, "Igor Stravinskv on Film Music," Cinema, June 1947, vol. 1, no. 1:8.
12. Mr. Paul Rotha tentatively advanced this interesting assumption in a personal discussion with me.
13. Lindgrcn, The Art of the Film, p. 141.
14. Eisler, Composing for the Films, p. 69.
15. Milano, "Music in the Film . . . ," The Journal of Aesthetics and Art Criticism, Spring 1941, no. 1:91.
16. Copland, op. cit.
17. Cf. Lindgrcn, op. cit. p. 147.