The Sounds of Early Cinema

Hardcover (Print)
Used and New from Other Sellers
Used and New from Other Sellers
from $104.62
Usually ships in 1-2 business days
Other sellers (Hardcover)
  • All (1) from $104.62   
  • New (1) from $46.50   
Sort by
Page 1 of 1
Showing All
Note: Marketplace items are not eligible for any coupons and promotions
Seller since 2011

Feedback rating:



New — never opened or used in original packaging.

Like New — packaging may have been opened. A "Like New" item is suitable to give as a gift.

Very Good — may have minor signs of wear on packaging but item works perfectly and has no damage.

Good — item is in good condition but packaging may have signs of shelf wear/aging or torn packaging. All specific defects should be noted in the Comments section associated with each item.

Acceptable — item is in working order but may show signs of wear such as scratches or torn packaging. All specific defects should be noted in the Comments section associated with each item.

Used — An item that has been opened and may show signs of wear. All specific defects should be noted in the Comments section associated with each item.

Refurbished — A used item that has been renewed or updated and verified to be in proper working condition. Not necessarily completed by the original manufacturer.

Brand new and unread! Join our growing list of satisfied customers!

Ships from: Phoenix, MD

Usually ships in 1-2 business days

  • Standard, 48 States
  • Standard (AK, HI)
Page 1 of 1
Showing All
Sort by


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).

Contributors include Richard Abel, Rick Altman, Edouard Arnoldy, Mats Björkin, Stephen Bottomore, Marta Braun, Jean Châteauvert, Ian Christie, Richard Crangle, Helen Day-Mayer, John Fullerton, Jane Gaines, André Gaudreault, Tom Gunning, François 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. Yangirov.

Indiana University Press

Read More Show Less

Product Details

  • ISBN-13: 9780253339881
  • Publisher: Indiana University Press
  • Publication date: 10/28/2001
  • Pages: 344
  • Product dimensions: 6.12 (w) x 9.25 (h) x 1.12 (d)

Meet the Author

Richard Abel is Ellis and Nell Levitt Professor of English at Drake University, where he teaches cinema/media/cultural studies. His most recent book is The Red Rooster Scare: Making Cinema American, 1900-1910 (California, 1999), which was a finalist for the Kraszna-Krausz Moving Image Book Award. Currently he is editing the Routledge Encyclopedia of Early Cinema.

Rick Altman is Professor of Cinema and Comparative Literature at the University of Iowa. After publishing Film/Genre (British Film Institute, 1999), which won the SCS Katherine Singer Kovacs award, he edited a special issue of IRIS 27 (Spring 1999) on the "State of Sound Studies." His current projects include a book on the silent cinema soundscape, a DVD devoted to illustrated song slides, and performances by his troupe, The Living Nickelodeon.

Indiana University Press

Read More Show Less

Table of Contents


Introduction, Richard Abel and Rick Altman

I. A Context of Intermediality
1. Ian Christie, "Early Phonograph Culture and Moving Pictures"
2. Tom Gunning, "Doing for the Eye What the Phonograph Does for the Ear"
3. Mats Bjorkin, "Remarks on Writing and Technologies of Sound in Early Cinema"
4. Richard Crangle, "‘Next Slide Please’: The Lantern Lecture in Britain, 1890-1910"
5. François Jost, "The Ways of Silence"
6. Edouard Arnoldy, "The Event and the Series: The Decline of Café-Concerts, the Failure of Gaumont’s Chronphone and the Birth of Cinema as Art"

II. Sound Practices in Production
7. Isabelle Raynauld, "Dialogues in Silent Screenplays: What the Actors Really Said"
8. Bernard Perron, "The First Transi-Sounds of Parallel Editing"
9. John Fullerton, "Sound, the Jump Cut, and ‘Trickality’ in Early Danish Comedies"
10. Dominique Nasta, "Setting the Pace of a Heartbeat: The Use of Sound Elements in European Melodramas Before 1915"
11. Rashit Yangirov, "Talking Movie or Silent Theater: Creative Experiments by Vasily Goncharov"

III. Sound Practices in Exhibition
12. Gregory Waller, "Sleighbells and Moving Pictures: On the Trail of D. W. Robertson"
13. Stephen Bottomore, "The Story of Percy Peashaker: Debates about Sound Effects in the Early Cinema"
14. Richard Abel, "That Most American of Attractions, the Illustrated Song"
15. Jeffrey Klenotic, "‘The Sensational Acme of Realism’: ‘Talker’ Pictures as Early Cinema Sound Practice"
16. Lauren Rabinovitz, "‘Bells and Whistles’: The Sound of Meaning in Train Travel Film Rides"

IV. Spectators and Politics
17. Jean Châteauvert and André Gaudreault, "The Noises of Spectators, or the Spectator as Additive to the Spectacle"
18. Jacques Polet, "Early Cinematographic Spectacles: The Role of Sound Accompaniment in the Reception of Moving Images"
19. Marta Braun and Charlie Keil, "Sounding Canadian: Early Sound Practices and Nationalism in Toronto-Based Exhibition"
20. Germain Lacasse, "The Double Silence of the ‘War To End All Wars’"

V. Film Music
21. Patrick Loughney, "Domitor Witnesses the First Complete Public Presentation of the [Dickson Experimental Sound Film] in the 20th Century"
22. David Mayer and Helen Day-Mayer, "A ‘Secondary Action’ or Musical Highlight? Melodic Interludes in Early Film Melodrama Reconsidered"
23. Rick Altman, "The Living Nickelodeon"
24. Herbert Reynolds, "The Record of Special Music Scores for Kalem Films"
25. Jane Gaines and Neil Lerner, "The Orchestration of Affect: Motif of Barbarism in Breil’s The Birth of a Nation Score"

Appendix: Original French Texts
A. François Jost, "Les Voies du silence"
B. Edouard Arnoldy, "L’Evénement et le série: Le déclin du café-concert, l’échec du Chronophone Gaumont et la naissance de l’Art Cinématographique"
C. Bernard Perron, "Les transi-sons du cinéma des premiers temps"
D. André Gaudreault and Jean Châteauvert, "Les bruits des spectateurs"
E. Jacques Polet, "Le spectacle cinématographique des premiers temps: fonctions des accompagnements sonores dans la réception des images animées"
F. Germain Lacasse, "Le double silence de la ‘dernière guerre’"


Indiana University Press

Read More Show Less

Customer Reviews

Be the first to write a review
( 0 )
Rating Distribution

5 Star


4 Star


3 Star


2 Star


1 Star


Your Rating:

Your Name: Create a Pen Name or

Barnes & Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation


  • - By submitting a review, you grant to Barnes & and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Terms of Use.
  • - Barnes & reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously

    If you find inappropriate content, please report it to Barnes & Noble
    Why is this product inappropriate?
    Comments (optional)