UvA-DARE (Digital Academic Repository) Film sound in preservation and presentation Campanini, S. Link to publication

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1 UvA-DARE (Digital Academic Repository) Film sound in preservation and presentation Campanini, S. Link to publication Citation for published version (APA): Campanini, S. (2014). Film sound in preservation and presentation General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam ( Download date: 09 May 2018

2 Figures Fig. 1: Lee De Forest s Audion advertisement (1929) 205

3 Fig. 2: Django Unchained soundtrack, Tarantino s liner notes Fig. 3: A model of the Mystic Writing Pad (UK, 1950s) 206

4 Fig. 4: Edison s Kinetophone (1895) Fig. 5: The Biophon projection device [Deutsches Museum, Munich] 207

5 Fig. 6 and 7: Tonbilder film image carrier (35 mm film) Fig. 8 and 9: Tonbilder film sound carrier: Biophon shellac disc [Pavillon-Duett, 1907, private collection Stephan Puille Berlin; Rauschlied aus Künstlerblut, 1910, Österreichische Mediathek Wien] 208

6 Fig. 10: Patent drawing for the Biophon system (Oskar Messter, 1903): Projector (a), screen (b), gramophone (c), motors (d, e), coil system (f), brushes (g), voltage sources (h). Fig. 11: The Biophon gramophone,

7 Fig. 12: Tonbilder film shooting: Pre-synchronic image-sound recording, Messter-Studio Berlin, 1910 Fig. 13: Starting mark in a Tonbilder film Fig. 14: Starting mark in a Tonbilder shellac disc [Private collection Stephan Puille] 210

8 Fig. 15: A Biophon-Theater Program 211

9 Film Title Fig. 16: List of the reconstructed Tonbilder films 1 Am Elterngrab Internationale Kinematograph- und Lichtbildgesellschaft, 1907 Production, Year Credits Film Material Archive Nr. 35 mm nitrate, dupe negative of the Thirties SDK N 2 Schutzmannlied (from Donnerwetter - tadellos ) 3 Liebes Männchen folge mir (from Zigeunerliebe ) Deutsche Mutoskopund Biograph GmbH, 1908 Duskes Kinematographen und Film-Fabriken GmbH, 1910, Actor: Henry Bender director: Albert Kutzner 16 mm acetate reversal copy 16 mm acetate reversal copy SDK K SDK K 4 Militärische Disziplin Deutsche Bioscop GmbH Berlin, Babylied Messter s Projektion GmbH, 1904 Operator: Guido Seeber 35 mm nitrate positiv 35 mm nitrate positive, handpainted SDK N SDK N Fig. 17: List of the Tonbilder shellac discs Shellac Disc Title Production, Year Interpreters Author, Composer 1 Am Elterngrab Gramophone 2- Karl Ottemar Emil Winter (Tenor) Tymian Berlin, April 1904 Grammophone op. 202 Orchestra, cond. Bruno Seidler-Winker 2 Schutzmannlied (from the 1905 theatre revue of the Metropol- Theater Donnerwetter, tadellos! ) 3 Liebes Männchen, folge mir (from Der Zigeunerbaron ) Zonophone X Berlin, August 1908 Jumbo A Wien, Frühjahr 1910 Schutzmann Knautschke: Henry Bender (actor in the film as well) Gramophone- Orchestra, cond. Bruno Seidler-Winker Jolan: Mizzi Jezel Kajétan: Karl Schöpfer Paul Lince, Julius Freund Franz Léhar, Alfred M. Willner, Robert Bodanzky Matrix /2 h u Vo Lustiges auf dem Kasernenhof (sound for Militärische Disziplin) Messter s / M.P.510 Berlin, August/ September 1903 Gustav Schönwald Gustav Schönwald 1791 x 212

10 Fig. 18: Comparison between image and sound timeline in Avid DS Fig. 19: The presentation of the Tonbilder films at the Il Cinema Ritrovato festival, Bologna

11 Fig. 20: Phono-Cinéma-Théâtre film image carrier (35 mm film with 3 central perforations) Fig. 21 and 22: Phono-Cinéma-Théâtre films sound carrier (phonographic cylinders) 214

12 Fig. 23: The Phono-Cinéma-Théâtre poster by François Flameng 215

13 Fig. 24: The Chronophone system (Gaumont) Fig. 25: Chronophone film image and sound carriers, details (35 mm film with starting mark, gramophone disc) 216

14 Fig. 26 and 27: Filmparlant shooting: image and sound synchronous recording Fig. 28 and 29: Vitaphone film image and sound carriers (35 mm film, sixteen-inch electrical disc) 217

15 Fig. 30: Vitaphone engineer George Groves at a 1925 electrical disc-cutting lathe for sound movies [The Granger Collection, NYC] Fig. 31: Craft demonstrating the Vitaphone system [Collection AT&T Archives, Warren, New Jersey] 218

16 Fig. 32: ERPI projector device for sound-on-disc films [The Granger Collection, NYC] Fig. 33: The Vitaphone dispositif, advertisement by Electrical Research Products Inc. printed in 1929 in The New Yorker and Saturday Evening Post [Collection AT&T Archives, Warren, New Jersey] 219

17 Fig. 34: Nederlands Filmmuseum venue in Vondelparkpavilijoen Fig. 35: The new building of the Eye Film Institute Netherlands 220

18 Fig. 36: Opening of the new building of the Eye Film Institute Netherlands Fig. 37: Cinema 1 221

19 Fig. 38: Cinema 1, built-in historic organ near the cinema screen Fig. 39: The presentation of The Spanish Dancer with live musical accompaniment 222

20 Fig. 40: Cinema 2 with the grandstand seating retracted on occasion of the installation and performance of the Circo Togni Home Movies Fig. 41: Cinema 2 during the performance of the Circo Togni Home Movies 223

21 Fig. 42: Peter Kubelka s Invisible Cinema Fig. 43: The Exhibition Space 224

22 Fig. 44: The Exhibition Space, Found Footage: Cinema Exposed exhibition Fig. 45: The Exhibition Space, set up for the Expanded Cinema: Isaac Julien, Fiona Tan, Yang Fudong exhibition 225

23 Fig. 46: The Exhibition Space, set up for the Oskar Fishinger Experiments in Cinematic Abstraction exhibition Fig. 47: The Exhibition Space, set up for the Oskar Fishinger Experiments in Cinematic Abstraction exhibition 226

24 Fig. 48: The Exhibition Space, set up for the Oskar Fishinger Experiments in Cinematic Abstraction exhibition Fig. 49: The Basement, Panorama 227

25 Fig. 50: The Basement, Panorama Fig. 51: The Basement, Panorama 228

26 Fig. 52: The Basement, Panorama, consoles Fig. 53: The Basement, Panorama, console touchscreen 229

27 Fig. 54: The Basement, Pods Fig. 55: The Basement, Pods 230

28 Fig. 56: The Arena Fig. 57: The Arena 231

29 Fig. 58: The Arena Fig. 59: The Arena, projections on the walls 232