Post-Production and the Invisible Revolution of Filmmaking: From the Silent Era to Synchronized Sound, 1st Edition

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Post-Production and the Invisible Revolution of Filmmaking studies the discourses surrounding post-production, as well as the aesthetic effects of its introduction during the 1920s and 1930s, by exploring the philosophies and issues faced by practitioners during this transitional, transformative period. The introduction of post-production during the transition from silent cinema to the synchronized sound era in the 1920s American studio system resulted in what has been a previously unheralded and invisible revolution in filmmaking. Thereafter, a film no longer arose from a live and variable combination of audio and visual in the theater, as occurred during the silent film era, where each exhibition was a singular event. The new system of post-production effectively shifted control of a film’s final form from the theater to the editing room. With this new process, filmmakers could obtain and manipulate an array of audio elements and manufacture a permanent soundtrack. This transition made possible a product that could be easily mass-produced, serving both to transform and homogenize film presentation, fundamentally creating a new art form. With detailed research and analysis and nearly 50 illustrations, this book is the ideal resource for students and researchers of film history and post-production.

By George Larkin Routledge 224 pages Hardback: 9781138588332 pub: 2018-12-13

Table of Contents

Introduction: Post-Production: An Invisible Art Chapter One: The Invisible Revolution: the Art of Post-Production Chapter Two: The Post-Production Process of Silent Film Chapter Three: A Sense of Sound in the "Silent" Era Chapter Four: Transition to Post-Production: The Rapid Rise and Fall of the Monitor Ma Chapter Five: The Art and Science of Film Engineers Chapter Six: Coverage and Post-Production Chapter Seven: Post-Production: Past, Present, and Future Coda: The Perpetual Revolution and Evolution


"Beyond the existing canon of critical reception theory on Film Sound, Larkin’s work is a significant expansion of an emerging specialty: the history of the post-production of mainstream films and the art history which considers the collective authorship of soundtracks by industrial artisans." --David Stone, Professor of Sound Design, Savannah College of Art and Design (SCAD), Academy Award© winner for Best Sound Effects Editing, Bram Stoker’s Dracula (1992), and author of Hollywood Sound Design and Moviesound Newsletter: A Case Study of the End of the Analog Age. (2017, Focal Press) "The evolution of sound from its inception in The Jazz Singer in 1927 to its present subliminal importance in film is clearly highlighted in this text. Larkin’s readable history of this on-going development contributes richly to the collaborative art of post-production." --John J. Michalczyk, Director, Film Studies Program, Boston College, USA

About the Author

George Larkin is the Chair and an Associate Professor of Filmmaking at Woodbury University in Burbank, CA. He has a B.A. from Yale University, an M.A. in Shakespearean Studies from the University of Birmingham (England), and a Ph.D. in Film and Media Studies from the University of California, Berkeley.

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