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The festival is going to be "fantastic and a great community event," according to Lisa Lucas, UD director of development for special projects and festival producer. Festival sponsors include the Courtyard Newark-University of Delaware hotel and the Downtown Newark Partnership. The opening night feature is the touching and hilarious Sundance Film Festival hit, American Teen, a documentary following the lives of four teenagers through their senior year of high school and how they cope as they face the future and becoming adults.
Young at Heart, a documentary featuring a New England senior citizens chorus that has delighted audiences everywhere, as they begin to rehearse their new show. For those who lived in large American cities, twenty-five cents was a magic carpet that transported them from their dreary lives to a world of unparalleled opulence, the movie palace. In October 6, 1927, the success of The Jazz Singer, a Warner Brother’s a half-silent, half-talking musical signaled the beginning of the end of silent films and that wonderful experience - but just how rapid was that transition? One of the early issues with talking dramas was the question of what method would be used to deliver sound to movies. The other process, Movietone, recorded the sound directly to the strip of film used to make the motion picture. While many in the audience were enamored with the thought of finally hearing the voices of their favorite actors, a large portion of the movie going audience loved the silent film experience, the live music, subtle acting and agile camera work and weren’t really interested in talkies. After the novelty of talking films began to wear off, audiences tired of the hybrid. Even musicals like Showboat, Montana Moon, The Jazz Singer and The Singing Fool had silent versions.
The creation of silent versions of talkies may have continued for considerably longer since European cinemas weren’t fully wired for sound until well into the 30s.
Film historians have detailed the destruction of the careers of actors who didn’t make the transition to talkies but there were other behind the camera casualties. Directors of silent films spoke continually as they guided an actor’s on-screen movements, gently coaxing out a performance. When studios stopped making dual versions of films, writers of title cards, the method used for years to tell the story and deliver dialogue, found their art to be obsolete. Talking pictures emerged as the dominant celluloid art form and went through their own painful growing pains with static scenes and stagy acting until 1932 when the movies finally moved again. The Red Balloon was the winner of the Palme d'Or at Cannes and the Academy Award for Best Original Screen Play, depicting the adventures of a young boy and his magical balloon in Paris.


Radio was still going through growing pains and television, digital gaming and the Internet were years away.
The furnishings in these temples of excess were as sumptuous as those in the court of the Czar. The transition took years to take effect and was a much slower process than many film historians have suggested. The movie is set in Hollywood in the late 1920s, during the time of flappers, the Charleston and prohibition.
Like the early battles in video, BETA verses VHS, there were two competing sound technologies, both from upstart studios; Warner Brothers had Vitaphone and the Fox Film Corporation had Movietone. They all assumed that talking pictures would co-exist as a separate medium from silent dramas, i.e.
Hybrids were odd ducks; some, like The Jazz Singer were half-talkie and half-silent. Garbo may have talked in Anna Christie, but it’s probable that there was a silent version of the film floating around.
With the coming of the talkies, live performances called preludes, the major plotline of Footlight Parade, were pretty much eliminated too.
There’s a big difference from the Japanese original back in 1954 versus the latest version to be released in 2014. 4-11 at Cinema Center 3 in the Newark Shopping Center and will include films by Delaware and regional independent filmmakers. Everywhere one turned were crystal chandeliers, marble fountains, gilt inlay and richly upholstered seats. The Jazz Singer creates a worldwide sensation and within a couple of weeks the fictional studio, Monumental Pictures, easily converts their stages to accommodate sound.
Others, including classics like Wings and Seventh Heaven, were silent films with synchronized effects and music. Paramount owned more movie houses and in some cities, Paramount actually co-owned some of MGM’s palaces. In the United States, vertical integration continued until late 1940’s, when a federal anti-trust suit forced studios to divest themselves of their theaters.
Robinson Crusoe in 1932 and also provided a completely silent version in the same year.


The Warner Brothers musical, Footlight Parade, begins with an electric billboard circling a Manhattan building with the announcement that silent films were finally dead. The ushers wore smart uniforms and there was often a live musical prelude accompanied by the theater’s orchestra.
Hubbard have written extensively about the impact live musical performances had on American cinema in the 1920s.
Miraculously, producers are able to deliver talking pictures to theaters around the country despite the fact most were not yet wired for sound. In fact, in the final quarter of the 1928-1929, of the 200 films released, the majority, 114 in total, were silent dramas.
Pearson, as late as 1930, the vast majority of talking films had silent versions. Footlight Parade was released in October, 1933, a date that suggests silent dramas took a very long time to die. For theaters that couldn’t afford an orchestra, the mighty Wurlitzer organ became a staple and made every sound effect under the sun.
The director of the Dancing Cavalier, the film within the film, effortlessly shoots a motion picture with the same grace and fluidity as a silent drama.
The discs would break, scratch, were often misplaced and most importantly, were unusable after twenty screenings, effective making the movie a silent drama. Vieira, Hollywood Dreams Made Real, Irving Thalberg and the Rise of M-G-M.
Since the sound was already pre-recorded, local censors couldn’t cut out offensive dialogue which was problematic since many early talkies were peppered with saucy dialogue.
Do you feel they could have done anything different to really make these posters stand out, or do you think they were spot on? In areas with large immigrant populations, young girls would translate the title cards into Yiddish, Italian or Russian as a piano accompanied them.




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