研究所、轉學考(插大)、學士後-英文題庫下載題庫

The shift from silent to sound film at the end of the 1920’s marks, so far, the most important transformation in motion picture history. Despite all the highly visible technological developments in theatrical and home delivery of the moving image that have occurred over the decades since then, no single innovation has 21 being regarded as a similar kind of watershed. In nearly every language, 22 the words are phrased, the most basic division in cinema history lies between films that are mute and films that speak. Yet this most fundamental standard of historical periodization conceals a host of 23 . Nearly every movie theater, however modest, had a piano or organ to provide musical accompaniment to silent pictures. In many instances, spectators in the era before recorded sound experienced elaborate aural presentations alongside movies’ visual images, from the Japanese benshi (narrators) crafting multivoiced dialogue narratives to original musical compositions performed by symphony-size orchestras in Europe and the United States. Beyond that, the triumph of recorded sounds 24 the rich diversity of technological and aesthetic experiments with the visual image that were going forward simultaneously in the 1920’s. New color process, larger or differently shaped screen sizes, multiple-screen projections, even television, were among the developments invented or tried out during the period, sometimes with limited success. The high costs of converting to sound and the early limitations of sound technology were among the factors that suppressed innovations or retarded advancement in these other areas. The introduction of new screen formats was put off for a quarter century, and color, though utilized over the next two decades for special productions, also did not 25 until the 1950’s.