Response Paper: The Complete Film The introduction of sound films in the late 1920’s was a divisive issue among those involved and interested in the emerging motion picture industry. Even though it wasn’t the sudden breakthrough it is often perceived to be, the addition of sound and voice to mainstream cinema revolutionized movie making and led to conflicting viewpoints as to whether or not this innovation was a positive progression for film as an art and as an industry. While the addition of sound to films was generally perceived as an advancement, some critics and filmmakers believed that it takes away from the artistic essence of the medium. Among these traditionalists was Rudolph Arnheim, an art critic who thought the technological advances such as sound and color made film less artistic. He felt that film must make use of what is unique to the medium. Arnheim and other movie lovers of the era saw the coming of sound and color films as a negative step for the industry.
He thought it would lead to the end of the silent era and to a pursuit of technical perfection in movies that place emphasis on “inartistic demand for the greatest possible realism” (Arnheim, 183) In an excerpt from Film As Art titled The Complete Film, Arnheim expresses his views on the future of film. He uses the term “complete film” to describe what he will become the perfected film format that is hardly artistic expression but a mere presentation of reality. The main argument presented in this article is that the uniqueness and limitations of film as a medium are what makes it artistic, and technical innovation will take this away and replace it with films that are less artistic but better able to portray reality. While Arnheim’s views on the future of film and the idea of a complete film can be somewhat insightful, I disagree with his conclusion that the introduction of sound and color diminishes the creative quality and originality of movies. He states his belief that eventually film will develop to the point where we “we have nothing to look forward to” (Arnheim, 184).
The Essay on Sound In Sunrise Movie
The film “Sunrise” (1927) of Friedrich Wilhelm Murnau is one of the first silent films that was released with synchronised sound and incorporates a musical score. The melodramatic masterpiece with an allegorical subtitle “A song of two humans” involves a story about a married farmer who is tempted to leave his domestic life in order to run off with a seductive mistress from The City, who tries to ...
In all forms of art there is a natural inclination to explore and experiment within the medium.
The resulting methods and formats can be seen as alternatives and additions to existing ones. I do not believe that, in terms of technical decisions, there is a superior style of film making that the industry progresses to on a set path. I agree with Arnheim’s statement that “there is no objection to the complete film as an alternative to the stage” if it exists with the other types of films (Arnheim, 186).
In some cases advances in method and technique are used to fix the problems of technological limitations. In other cases these advances provide alternatives. The introduction of color is described by the latter.
Color was introduced as an alternative to black and white movies but never completely replaced them and didn’t stop the use of black and white as an effective technique in modern cinema. The use of sound, on the other hand, was a solution rather than an alternative. Since the early 20 th century filmmakers tried to use sound with their moving pictures. Orchestras and even original scores accompanied early movies.
Filmmakers like Edison tried to solve the sound issue by inventing ways to add sound to a moving picture. When the technology became available to allow for effective recording and presentation of movies with sound, it was almost universally accepted because it was seen as a solution to a problem encountered when making movies. It was the new way to make movies, not a different way. Sound in movies, specifically spoken dialogue, has allowed for many things that were difficult or impossible in silent films. Even early sound films had complex plots, more characters, different and realistic acting styles, and more variation in general. Examples of these differences can be shown by comparing D.
The Essay on Warner Brothers Film Sound Films
Before World War I, films were being made mostly European countries and in Japan. When the war interrupted European filmmaking, however, the American film industry began to dominate the world market. In the years between 1917 and 1927 the silent film reached the peak of its development. United States had the largest film industry and American films dominated the international market. Germany and ...
W. Griffith’s silent film Broken Blossoms with John Ford’s sound film Stagecoach. Stagecoach was released in 1939, 20 years after Broken Blossoms and it demonstrates the drastic difference sound makes in a movie. As someone who grew up in an era of blockbuster movies and computer special effects, I was quick to notice the differences between the silent film broken blossom, and the sound film Stagecoach, which was closer to the kind of movies I am used to. The use of inter-titles limited the movie to a somewhat simple plot and did not allow for subtle plot details. The inability of the actor to express himself / herself vocally meant the acting had to be simple but exaggerated, allowing them to express the only basic emotions and reactions.
A sound film, also known as a “talkie”, Stagecoach allowed for more plot and character development. Viewers were offered a much more involving story and insight into the personality of the characters. This was possible because the actors were actually trying to portray these characters in the most realistic manner, not having to rely solely on body language and facial expressions to convey emotion. Film is a medium that has developed from a novelty attraction into a billion dollar industry.
Since “on an economic ground film is much more dependent on the general public than any other form of art” (Arnheim, 185), its primary role will always be entertainment for the masses. Which means that some artistic quality is lost in pursuit of the “Complete Film”, but mainstream cinema will always coexists with the independent films that focus on the “art” of film making instead of the business. So while technological advances may not always promote artistic film making, they provide the opportunity for it by offering innovation within the medium. Works Cited.
The Essay on King Kong Film Movie Picture
King Kong A classic adventure-fantasy film in the earlier talking films is King Kong (1933). King Kong was conceived by director / producer Meri an C. Cooper. Cooper tells the story of an attractive blonde woman and a frightening gigantic ape-monster who are immersed in a Beauty and the Beast type tale. A major section of the film is the struggle on Skull Island between the filmmakers, the ...
