![]() Superabundance: Revues and MusicalsĪdapting musicals was a path of little resistance for movie producers. But some producers still regarded big-time musical revues and dramatic hits from the New York stage as movie ideals. Virtual Broadway in its older form, recording discrete performances, tended to be confined to short subjects. The sound film's relationship to theater continued to evolve into one of love-hate. Just as the sound engineers were making their technology "inaudible," many filmmakers were subduing their techniques. They could also observe film styles which played down formal expression and novel effects to construct an illusion of unified audiovisual space. Audiences could still see movies which emphasized the newly discovered screen voice. ![]() The films of the 1929-1930 season approached sound in seemingly contradictory ways: they exploited it while hiding it. It is also likely that external forces were at work. Many stresses inside the industry pushed film toward systematic stability. The obvious question to ask John Seitz is, Why was adapting sound filmmaking to "silent" practice considered desirable? This conservative impulse probably did not arise simply from practical considerations it required skill, resourcefulness, and effort to maintain the appearance that everything was the same. Taming the Talkies, 1929–1930 Superabundance: Revues and MusicalsĬinematographers now do everything they did in silent drama days in Hollywood.
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