Film rhythm after sound : technology, music, and performance

281 Pages·2015·8.7 MB·English

by  Jacobs

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ROTH FAMILY FOUNDATION
Am<ri~
in lmprini
Michael P. Roth
and Sukey Garcetti
have endowed this
imprint to honor the
memory of their parents,
Julia and Harry Roth,
whose deep love of music
they wish to share
with others.
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The publisher gratefully acknowledges the generous
support of the Music in America Endowment Fund of the
University of California Press Foundation, which was
established by a major gift from Sukey and Gil Garcetti,
Michael P. Roth, and the Roth Family Foundation.
The publisher also gratefully acknowledges the generous sup-
port of the Ahmanson Foundation Humanities Endowment
Fund of the University of California Press Foundation.
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Film Rhythm after Sound
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Film Rhythm after Sound
Technology, Music, and Performance
lea jacobs
University of California Press
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University of California Press, one of the most distinguished university
presses in the United States, enriches lives around the world by
advancing scholarship in the humanities, social sciences, and natural
sciences. Its activities are supported by the UC Press Foundation and by
philanthropic contributions from individuals and institutions. For more
information, visit www.ucpress.edu.
University of California Press
Oakland, California
© 2015 by The Regents of the University of California
Library of Congress Cataloging-in-Publication Data
Jacobs, Lea, author.
Film rhythm after sound : technology, music, and performance / Lea
Jacobs.
pages cm
Includes bibliographical references and index.
isbn 978-0-520-27964-3 (cloth : alk. paper) — isbn 978-0-520-
27965-0 (pbk. : alk. paper) — isbn 978-0-520-96001-5 (ebook)
1. Sound in motion pictures. 2. Motion picture music. 3. Dialogue
in motion pictures. 4. Motion pictures—Production and direction.
5. Rhythm. I. Title.
pn1995.7.j33 2015
791.43’6578—dc23
2014031038
Manufactured in the United States of America
24 23 22 21 20 19 18 17 16 15
10 9 8 7 6 5 4 3 2 1
The stills and musical transcriptions that illustrate this book are drawn
from the following films: Figures 1–14, Song o’ My Heart (U.S., Fox Film
Corporation, 1930); 18–32, Ivan the Terrible (Ivan Grozny), Part I
(U.S.S.R., Mosfilm, 1944); 33–36, Santa’s Workshop (U.S., Walt Disney
Productions, United Artists, 1932); 37, 45–54, Three Little Pigs (U.S., Walt
Disney Productions, United Artists, 1933); 38–44, Hell’s Bells (U.S., Walt
Disney Productions, Columbia Pictures, 1929); 55–63, Playful Pluto (U.S.,
Walt Disney Productions, United Artists, 1934); 64–66, Love Me Tonight
(U.S., Paramount-Publix, 1932); 67–68, 70–72, Monte Carlo (U.S.,
Paramount-Publix 1930); 69, One Hour with You (U.S., Paramount-
Publix, 1932)
Portions of chapter 2 were based on an article originally published in
Music and the Moving Image 5, no. 1 (spring 2012), © 2012 by the
Board of Trustees of the University of Illinois. Used with permission of
the University of Illinois Press.
In keeping with a commitment to support environmentally responsible
and sustainable printing practices, UC Press has printed this book on
Natures Natural, a fiber that contains 30% post-consumer waste and
meets the minimum requirements of ansi/niso z39.48-1992 (r 1997)
(Permanence of Paper).
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In memory of Rosalia and Dean Jacobs
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For music, as we said, exist s in the medium of time. It is time itself
that must be carved up, molded, and remolded until it becomes, like
a statue, an existing shape and form. This is the hardest to do. For a
symphony is not like a statue, which can be viewed all at once, or
bit by bit at leisure, in one’s own chosen time. With music we are
trapped in time.
—leonard bernstein, The Conductor’s Art
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Contents
List of Online Film Clips ix
Acknowledgments xi
1 . introduction: film rhythm and the problem
of sound 1
2 . a lesson with eisenstein: rhythm and pacing
in ivan the terrible, part i 25
3 . mickey mousing reconsidered 58
4 . lubitsch and mamoulian 109
5 . dialogue timing and performance in hawks 166
6. afterword 217
Notes 227
Bibliography 245
Filmography 253
Index 257
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