The desire of sound in films

Since of beginning of cinema we felt the desire of sound in films experimenting with our technologies of that time. In fact the “Kinetoscopes were equipped with sound reproducing attachments and earphones. The Lumière Brothers themselves took a patent on a purely theoretical proposal to synchronise the cinématographe with a phonograph in 1896.”1

There were, also, sound effect machines like “Allefex” in theaters with someone having the task to playing that machine.

Artistically and creatively such efforts were been developed in Russia by filmmakers like Dziga Vertov with sound montage of his “Enthusiasm, or Donbas Symphony” (1930); anyway everywhere the filmmakers were excited and torn to the potential of sound in films.

Pudovkin considered that: the sound film is a new medium which can be used in entirely new ways. Sounds and human speech should be used by the director not as a literal accomplishment but to amplify and enrich the visual image on the screen. Under such conditions could the sound film become a new form of art whose future development has no predictable limits.” 2

Now, after the digital evolution, we had a deep revolution of our technologies and really it’s amazing what we can do to tell a story in motion picture using sound; but how are we approaching actually at these new technologies?!

We have always to have that desire and wonder for making cinema.

1“World Cinema a short history” by David Robinson, Revolution, Eyre Methuen, January 1, 1973

2“World Cinema a short history” by David Robinson, Revolution p. 165-166, Eyre Methuen, January 1, 1973