The Sounds of Early Cinema is devoted exclusively to a little-known, yet
absolutely crucial phenomenon: the ubiquitous presence of sound in early cinema.
"Silent cinema" may rarely have been silent, but the sheer diversity of
sound(s) and sound/image relations characterizing the first 20 years of moving
picture exhibition can still astonish us. Whether instrumental, vocal, or
mechanical, sound ranged from the improvised to the pre-arranged (as in scripts,
scores, and cue sheets). The practice of mixing sounds with images differed widely,
depending on the venue (the nickelodeon in Chicago versus the summer Chautauqua in
rural Iowa, the music hall in London or Paris versus the newest palace cinema in New
York City) as well as on the historical moment (a single venue might change
radically, and many times, from 1906 to 1910).
include Richard Abel, Rick Altman, Edouard Arnoldy, Mats BjÃ¶rkin, Stephen
Bottomore, Marta Braun, Jean ChÃ¢teauvert, Ian Christie, Richard Crangle, Helen
Day-Mayer, John Fullerton, Jane Gaines, AndrÃ© Gaudreault, Tom Gunning, FranÃ§ois
Jost, Charlie Keil, Jeff Klenotic, Germain Lacasse, Neil Lerner, Patrick Loughney,
David Mayer, Domi-nique Nasta, Bernard Perron, Jacques Polet, Lauren Rabinovitz,
Isabelle Raynauld, Herbert Reynolds, Gregory A. Waller, and Rashit M.