Film rhythm after sound : technology, music, and performance PDF
Preview Film rhythm after sound : technology, music, and performance
T.mk ROTH FAMILY FOUNDATION Am<ri~ in lmprini Michael P. Roth and Sukey Garcetti have endowed this imprint to honor the memory of their parents, Julia and Harry Roth, whose deep love of music they wish to share with others. JJaaccoobbss -- 99778800552200227799664433..iinndddd aa 1166//1100//1144 33::5544 PPMM The publisher gratefully acknowledges the generous support of the Music in America Endowment Fund of the University of California Press Foundation, which was established by a major gift from Sukey and Gil Garcetti, Michael P. Roth, and the Roth Family Foundation. The publisher also gratefully acknowledges the generous sup- port of the Ahmanson Foundation Humanities Endowment Fund of the University of California Press Foundation. JJaaccoobbss -- 99778800552200227799664433..iinndddd bb 1166//1100//1144 33::5544 PPMM Film Rhythm after Sound JJaaccoobbss -- 99778800552200227799664433..iinndddd ii 1166//1100//1144 33::5544 PPMM This page intentionally left blank Film Rhythm after Sound Technology, Music, and Performance lea jacobs University of California Press JJaaccoobbss -- 99778800552200227799664433..iinndddd iiiiii 1166//1100//1144 33::5544 PPMM University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2015 by The Regents of the University of California Library of Congress Cataloging-in-Publication Data Jacobs, Lea, author. Film rhythm after sound : technology, music, and performance / Lea Jacobs. pages cm Includes bibliographical references and index. isbn 978-0-520-27964-3 (cloth : alk. paper) — isbn 978-0-520- 27965-0 (pbk. : alk. paper) — isbn 978-0-520-96001-5 (ebook) 1. Sound in motion pictures. 2. Motion picture music. 3. Dialogue in motion pictures. 4. Motion pictures—Production and direction. 5. Rhythm. I. Title. pn1995.7.j33 2015 791.43’6578—dc23 2014031038 Manufactured in the United States of America 24 23 22 21 20 19 18 17 16 15 10 9 8 7 6 5 4 3 2 1 The stills and musical transcriptions that illustrate this book are drawn from the following films: Figures 1–14, Song o’ My Heart (U.S., Fox Film Corporation, 1930); 18–32, Ivan the Terrible (Ivan Grozny), Part I (U.S.S.R., Mosfilm, 1944); 33–36, Santa’s Workshop (U.S., Walt Disney Productions, United Artists, 1932); 37, 45–54, Three Little Pigs (U.S., Walt Disney Productions, United Artists, 1933); 38–44, Hell’s Bells (U.S., Walt Disney Productions, Columbia Pictures, 1929); 55–63, Playful Pluto (U.S., Walt Disney Productions, United Artists, 1934); 64–66, Love Me Tonight (U.S., Paramount-Publix, 1932); 67–68, 70–72, Monte Carlo (U.S., Paramount-Publix 1930); 69, One Hour with You (U.S., Paramount- Publix, 1932) Portions of chapter 2 were based on an article originally published in Music and the Moving Image 5, no. 1 (spring 2012), © 2012 by the Board of Trustees of the University of Illinois. Used with permission of the University of Illinois Press. In keeping with a commitment to support environmentally responsible and sustainable printing practices, UC Press has printed this book on Natures Natural, a fiber that contains 30% post-consumer waste and meets the minimum requirements of ansi/niso z39.48-1992 (r 1997) (Permanence of Paper). JJaaccoobbss -- 99778800552200227799664433..iinndddd iivv 1166//1100//1144 33::5544 PPMM In memory of Rosalia and Dean Jacobs JJaaccoobbss -- 99778800552200227799664433..iinndddd vv 1166//1100//1144 33::5544 PPMM For music, as we said, exist s in the medium of time. It is time itself that must be carved up, molded, and remolded until it becomes, like a statue, an existing shape and form. This is the hardest to do. For a symphony is not like a statue, which can be viewed all at once, or bit by bit at leisure, in one’s own chosen time. With music we are trapped in time. —leonard bernstein, The Conductor’s Art JJaaccoobbss -- 99778800552200227799664433..iinndddd vvii 1166//1100//1144 33::5544 PPMM Contents List of Online Film Clips ix Acknowledgments xi 1 . introduction: film rhythm and the problem of sound 1 2 . a lesson with eisenstein: rhythm and pacing in ivan the terrible, part i 25 3 . mickey mousing reconsidered 58 4 . lubitsch and mamoulian 109 5 . dialogue timing and performance in hawks 166 6. afterword 217 Notes 227 Bibliography 245 Filmography 253 Index 257 JJaaccoobbss -- 99778800552200227799664433..iinndddd vviiii 1166//1100//1144 33::5544 PPMM
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