Triumph of the

Triumph of the talkies in February 1927, an agreement was signed by five major Hollywood producers-called Big Two, Paramount and MGM, as well as First National (once in the ranking of indutria along with Fox, but now decline), the medium-sized Universal, and the small but prestigious Producers Distributing Corporation (PDC) of Cecil B. DeMille-to collectively select a vendor only for sound conversion. The group of five then got comfortable and waited to see what kind of results proposed precursors. In May, Warner Bros. sold back its exclusive rights to ERPI (along with the sub-Fox-Case) and signed a new contract similar to Fox’s royalty for the use of technology from Western Electric.As Fox and Warners moved with sound films in different directions, both technologically and commercially-Fox with newsreels and later music dramas, the Warner-talkies so did ERPI, who sought gain strong market with five major allies. All movies sound great sensations of the year took advantage of existing celebrities. On 20 May 1927, in New York’s Roxy Theater, Fox Movietone made a sound film of the takeoff of the famous flight of Charles Lindbergh to Paris, recorded earlier that day. In June, a Fox sound newsreel is shown presenting his welcome back to New York and Washington, DC.These were the two most acclaimed sound films to date. Also in May, Fox released the first Hollywood film with synchronized dialogue fiction: the short’re Coming to Get Me, starring the Cimic Chic Sale. 23 After Henry Fool a few successful reissue of silent films as The Seventh Heaven, with recorded music, Fox got its first original film Movietone September 23: Dawn, by acclaimed German director FW Murnau. As with Don Juan, the soundtrack of the film was composed of music and sound effects (including in a couple of scenes full of people, conversations, not specific). Then, on 6 October 1927, was released Henry The Jazz Singer, Warner Bros..It was a hit at the box office for the study of medium size, earning a total of 2.625 million in the United States and abroad, nearly a million dollars more than the previous record for a Warners film. Produced with the Vitaphone system, most of the movie contains no audio was recorded Fay Grim live, depending, as Dawn and Don Juan, his music and sound effects. When the star of the film, Al Jolson, singing, however, the film switches to sound recorded on set, including both musical performances and two scenes-one impromptu speech Jolson’s character, Jakie Rabinowitz (Jack Robin), addressing the audience in a nightclub, the other an exchange of views between him and his mother.Although the success of The Jazz Singer was due largely to Jolson, already established as one of the largest U.S. music stars and their limited use of synchronized sound hardly qualified as an innovative sound film (but as the ” first “), the considerable benefits were sufficient proof that the industry was worth investing in technology. The development of commercial sound cinema had progressed in fits and starts before The Jazz Singer, and the success of the film did not change things from night to morning. It was not until May 1928 that the four main reluctant (PDC had left the alliance), along with United Artists and others signed with ERPI for the conversion of production facilities and theaters for sound film.Initially, all theaters wired ERPI Vitaphone were made compatible with the majority were equipped to project Movietone reels as well. Even with access to both technologies, however, most Hollywood companies remained slow to produce talkies own. No study besides Warner Bros. premiered a film or sound parts until the little Film Booking Offices of America (FBO) Perfect Crime opened on 17 June 1928, eight months after The Jazz Singer. FBO had fallen under the effective control of a competitor of Western Electric, General Electric’s RCA division, which was seeking to market its new sound-on-film, Photophone. Unlike the Fox-Case Movietone and De Forest Phonofilm, which were variable-density systems, Photophone was a system of variable-area refinement in the way the audio signal was recorded on film that finally became the rule.(In both systems, a specially designed lamp, exposing the celluloid which is determined by the audio input is used to record sound photographically as a series of tiny lines.