The singing film star in early French sound cinema

In the early years of synchronized sound film, cinema’s relationship to live theatre was a topic of debate. Many stars from the Parisian stage successfully transitioned to the screen, becoming important figures in establishing a French national sound film style at a time when the medium’s future remained uncertain. Not only did French audiences take pleasure in hearing French stars speak on-screen, but the French singing voice also had an equally influential, if less examined, effect. Songs performed on-screen by stars from the French stage bridged theatrical traditions and sound cinema’s emerging audio-visual aesthetics. This article examines the singing star in early French sound cinema. Drawing on scholarly approaches to stardom in France and abroad by Richard Dyer and Ginette Vincendeau, I focus on musical numbers in early French sound films that feature three singers already famous on the Parisian stage: Fernandel, Henri Garat and Josephine Baker. I consider how these songs are visually structured around the singing star’s stage presence, and how the soundtrack was likewise constructed around their voices familiar to audiences from recordings and stage performances. Through my analysis, I show how the singing star contributed to a broader acceptance of sound cinema in France.

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The Unsynchable William Faulkner

William Faulkner and the Faces of Modernity ◽

10.1093/oso/9780198849742.003.0005 ◽

2019 ◽

pp. 148-170

Author(s):

Jay Watson

Keyword(s):

William Faulkner ◽

Early Years ◽

Unique Contribution ◽

Literary Modernism ◽

Technical Problems ◽

Aesthetic Development ◽

Sound Film ◽

Growing Pains ◽

Image Stream

The early years of the “talkies,” which correspond with Faulkner’s surge into a fully realized literary modernism, brought technical problems that the cinema was slow to work out, especially the challenge of synchronizing the film soundtrack with its image stream to achieve verisimilitude. This technical crisis pointed to new creative opportunities for artists imaginative enough to seize the possibilities and extend montage effects across the visual and auditory realms. As sound film struggled through its growing pains, Faulkner experimented with new stylistic techniques of punctuation that introduced new discontinuities between speech and speaker, voice and subject, sound and source, into literary narration and onto the printed page, making his own unique contribution to his era’s aesthetic repertoire. This transmedial embrace of asynchrony went hand in hand with a new appreciation for the affective and thematic potential of silence, another aesthetic development that leaves its mark on Faulkner’s contemporaneous fictions.

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The Genesis and Internal Dynamics of El Salvador's People's Revolutionary Army, 1970–1976

Behavioral and Brain Sciences ◽

10.1017/s0140525x13009850 ◽

2014 ◽

Vol 38 (01) ◽

pp. 102-129

Author(s):

ALBERTO MARTÍN ÁLVAREZ ◽

EUDALD CORTINA ORERO

Keyword(s):

Latin America ◽

El Salvador ◽

Early Years ◽

Left Wing ◽

Internal Dynamics ◽

Internal Coherence ◽

The 1960S

AbstractUsing interviews with former militants and previously unpublished documents, this article traces the genesis and internal dynamics of the Ejército Revolucionario del Pueblo (People's Revolutionary Army, ERP) in El Salvador during the early years of its existence (1970–6). This period was marked by the inability of the ERP to maintain internal coherence or any consensus on revolutionary strategy, which led to a series of splits and internal fights over control of the organisation. The evidence marshalled in this case study sheds new light on the origins of the armed Salvadorean Left and thus contributes to a wider understanding of the processes of formation and internal dynamics of armed left-wing groups that emerged from the 1960s onwards in Latin America.

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Image quality vs data obtainment in biological electron microscopy

Proceedings, annual meeting, Electron Microscopy Society of America ◽

10.1017/s0424820100141950 ◽

1986 ◽

Vol 44 ◽

pp. 42-43

Author(s):

J. E. Johnson

Keyword(s):

Electron Microscopy ◽

Endoplasmic Reticulum ◽

Electron Beam ◽

Image Quality ◽

High Speed ◽

Early Period ◽

Early Years ◽

Fluorescent Screen ◽

Embedding Medium

In the early years of biological electron microscopy, scientists had their hands full attempting to describe the cellular microcosm that was suddenly before them on the fluorescent screen. Mitochondria, Golgi, endoplasmic reticulum, and other myriad organelles were being examined, micrographed, and documented in the literature. A major problem of that early period was the development of methods to cut sections thin enough to study under the electron beam. A microtome designed in 1943 moved the specimen toward a rotary “Cyclone” knife revolving at 12,500 RPM, or 1000 times as fast as an ordinary microtome. It was claimed that no embedding medium was necessary or that soft embedding media could be used. Collecting the sections thus cut sounded a little precarious: “The 0.1 micron sections cut with the high speed knife fly out at a tangent and are dispersed in the air. They may be collected... on... screens held near the knife“.

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