Sound film

Illustration of a theater from the rear Right  of the stage. At the front of the stage a screen hangs down with the projected image of a tuxedoed man holding up a text and performing. In the foreground is a gramophone with two horns. In the background, a large audience is seated at orchestra level and on several balconies. The words "Chronomégaphone" and "Gaumont" appear at both the bottom of the illustration and, in reverse, at the top of the projection screen.
1908 poster advertising Gaumont's sound films. The Chronomégaphone, designed for large halls, employed compressed air to amplify the recorded sound. [1]

A sound film is a motion picture with synchronized sound, or sound technologically coupled to image, as opposed to a silent film. The first known public exhibition of projected sound films took place in Paris in 1900, but decades passed before sound motion pictures were made commercially practical. Reliable synchronization was difficult to achieve with the early sound-on-disc systems, and amplification and recording quality were also inadequate. Innovations in sound-on-film led to the first commercial screening of short motion pictures using the technology, which took place in 1923.

The primary steps in the commercialization of sound cinema were taken in the mid- to late 1920s. At first, the sound films which included synchronized dialogue, known as "talking pictures", or "talkies", were exclusively shorts. The earliest feature-length movies with recorded sound included only music and effects. The first feature film originally presented as a talkie was The Jazz Singer, released in October 1927. A major hit, it was made with Vitaphone, which was at the time the leading brand of sound-on-disc technology. Sound-on-film, however, would soon become the standard for talking pictures.

By the early 1930s, the talkies were a global phenomenon. In the United States, they helped secure Hollywood's position as one of the world's most powerful cultural/commercial centers of influence (see Cinema of the United States). In Europe (and, to a lesser degree, elsewhere), the new development was treated with suspicion by many filmmakers and critics, who worried that a focus on dialogue would subvert the unique aesthetic virtues of soundless cinema. In Japan, where the popular film tradition integrated silent movie and live vocal performance, talking pictures were slow to take root. In India, sound was the transformative element that led to the rapid expansion of the nation's film industry.


Early steps

On the left is a large acoustical horn, suspended from a cord that rises out of the frame. A man plays a violin in front of it. To the right, two men dance together.
Image from The Dickson Experimental Sound Film (1894 or 1895), produced by W.K.L. Dickson as a test of the early version of the Edison Kinetophone, combining the Kinetoscope and phonograph.

The idea of combining motion pictures with recorded sound is nearly as old as the concept of cinema itself. On February 27, 1888, a couple of days after photographic pioneer Eadweard Muybridge gave a lecture not far from the laboratory of Thomas Edison, the two inventors privately met. Muybridge later claimed that on this occasion, six years before the first commercial motion picture exhibition, he proposed a scheme for sound cinema that would combine his image-casting zoopraxiscope with Edison's recorded-sound technology. [2] No agreement was reached, but within a year Edison commissioned the development of the Kinetoscope, essentially a "peep-show" system, as a visual complement to his cylinder phonograph. The two devices were brought together as the Kinetophone in 1895, but individual, cabinet viewing of motion pictures was soon to be outmoded by successes in film projection. [3] In 1899, a projected sound-film system known as Cinemacrophonograph or Phonorama, based primarily on the work of Swiss-born inventor François Dussaud, was exhibited in Paris; similar to the Kinetophone, the system required individual use of earphones. [4] An improved cylinder-based system, Phono-Cinéma-Théâtre, was developed by Clément-Maurice Gratioulet and Henri Lioret of France, allowing short films of theater, opera, and ballet excerpts to be presented at the Paris Exposition in 1900. These appear to be the first publicly exhibited films with projection of both image and recorded sound. Phonorama and yet another sound-film system—Théâtroscope—were also presented at the Exposition. [5]

Three major problems persisted, leading to motion pictures and sound recording largely taking separate paths for a generation. The primary issue was synchronization: pictures and sound were recorded and played back by separate devices, which were difficult to start and maintain in tandem. [6] Sufficient playback volume was also hard to achieve. While motion picture projectors soon allowed film to be shown to large theater audiences, audio technology before the development of electric amplification could not project satisfactorily to fill large spaces. Finally, there was the challenge of recording fidelity. The primitive systems of the era produced sound of very low quality unless the performers were stationed directly in front of the cumbersome recording devices (acoustical horns, for the most part), imposing severe limits on the sort of films that could be created with live-recorded sound. [7]

Illustration of a red-haired woman wearing a large hat, an ankle-length yellow dress, and high heels. She is holding a long baton or swagger stick and leaning against a film projector. A gramophone sits at her feet. The top of the illustration reads "Phono-Cinéma-Théâtre". Text to the left of the woman reads "Visions Animées des Artistes Celèbres", followed by a list of performers.
Poster featuring Sarah Bernhardt and giving the names of eighteen other "famous artists" shown in "living visions" at the 1900 Paris Exposition using the Gratioulet-Lioret system.

Cinematic innovators attempted to cope with the fundamental synchronization problem in a variety of ways. An increasing number of motion picture systems relied on gramophone records—known as sound-on-disc technology; the records themselves were often referred to as "Berliner discs", after one of the primary inventors in the field, German-American Emile Berliner. In 1902, Léon Gaumont demonstrated his sound-on-disc Chronophone, involving an electrical connection he had recently patented, to the French Photographic Society. [8] Four years later, Gaumont introduced the Elgéphone, a compressed-air amplification system based on the Auxetophone, developed by British inventors Horace Short and Charles Parsons. [9] Despite high expectations, Gaumont's sound innovations had only limited commercial success—though improvements, they still did not satisfactorily address the three basic issues with sound film and were expensive as well. For some years, American inventor E. E. Norton's Cameraphone was the primary competitor to the Gaumont system (sources differ on whether the Cameraphone was disc- or cylinder-based); it ultimately failed for many of the same reasons that held back the Chronophone. [10]

In 1913, Edison introduced a new cylinder-based synch-sound apparatus known, just like his 1895 system, as the Kinetophone; instead of films being shown to individual viewers in the Kinetoscope cabinet, they were now projected onto a screen. The phonograph was connected by an intricate arrangement of pulleys to the film projector, allowing—under ideal conditions—for synchronization. However, conditions were rarely ideal, and the new, improved Kinetophone was retired after little more than a year. [11] By the mid-1910s, the groundswell in commercial sound motion picture exhibition had subsided. [10] Beginning in 1914, The Photo-Drama of Creation, promoting Jehovah's Witnesses' conception of mankind's genesis, was screened around the United States: eight hours worth of projected visuals involving both slides and live action were synchronized with separately recorded lectures and musical performances played back on phonograph. [12]

Meanwhile, innovations continued on another significant front. In 1907, French-born, London-based Eugene Lauste—who had worked at Edison's lab between 1886 and 1892—was awarded the first patent for sound-on-film technology, involving the transformation of sound into light waves that are photographically recorded direct onto celluloid. As described by historian Scott Eyman,

It was a double system, that is, the sound was on a different piece of film from the picture.... In essence, the sound was captured by a microphone and translated into light waves via a light valve, a thin ribbon of sensitive metal over a tiny slit. The sound reaching this ribbon would be converted into light by the shivering of the diaphragm, focusing the resulting light waves through the slit, where it would be photographed on the side of the film, on a strip about a tenth of an inch wide. [13]

Though sound-on-film would eventually become the universal standard for synchronized sound cinema, Lauste never successfully exploited his innovations, which came to an effective dead end. In 1914, Finnish inventor Eric Tigerstedt was granted German patent 309,536 for his sound-on-film work; that same year, he apparently demonstrated a film made with the process to an audience of scientists in Berlin. [14] Hungarian engineer Denes Mihaly submitted his sound-on-film Projectofon concept to the Royal Hungarian Patent Court in 1918; the patent award was published four years later. [15] Whether sound was captured on cylinder, disc, or film, none of the available technology was adequate for big-league commercial purposes, and for many years the heads of the major Hollywood film studios saw little benefit in producing sound motion pictures. [16]

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