Is sound cinema the greatest technical advance of its kind?
October, 26; 2024. By Arscodex
At this point it is appropriate to focus on listing a series of technical advances related to cinema. Among them, this publication considers that sound cinema is the greatest and most important advance in its category, above color cinema or other possible advances in cinematographic science.
Thus, after the discovery of cinema itself as a means of communication or art, which is limited above all to the fact of being able to reproduce recorded images (the invention of the Lumière brothers of taking a multitude of photographs and then projecting them very closely to give the appearance of movement), at the end of the 19th century, there have been another series of technical advances that have strengthened the essence of cinema as a whole, namely: animation cinema, with its greatest early exponents, the German Lotte Reiniger and the Argentine Quirino Cristiani; then of course the aforementioned sound cinema, which was established commercially and for the masses around the 1920s in the USA and the 30s in the rest of the world; and then colour cinema around the 1930s. Later, perhaps, leaving aside the particularities of animated cinema (the Reiniger multiplane camera, American 3D cinema, Pedro Alonso Pablos' "solo filmmaking"), we find ourselves before 3D cinema (the one with the famous "glasses") which, to this day, and after a few years since its commercial perfection, has still not fully taken off for a number of reasons.
In short, of all these advances in cinematographic science, and some others, which there must be, but which we will leave out for this brief review, we can confirm that since sound cinema became established, it has been running wild, almost unchanged, on the face of cinematographic lands, that is, the sum of voice synchronisation together with music and other sound effects fixed and added to the relevant video layer delight children and adults throughout our small world. We could also talk about colour films, but let's remember that some films are released in black and white today as well (examples: Steven Spielberg's Schindler's List or the animated film Hazañas bélicas, both dealing with the subject of the Second World War) and can be widely enjoyed by the general public as well. Although let's remember that some films are now made silent as well.
In short, the bulk of the world's population, which makes up what is known as the "general public" in terms of cinematography, is used to consuming sound and colour films, but in this order, because sound films can also be consumed in black and white (for example King Kong or the first Tarzan films); however, it is a little more difficult for us to delve into silent films, especially with German expressionism standing out in this field, in these times.
So, today, this magazine claims that, after the invention of film itself, it is sound cinema that provides substance and cohesion to what is known as "cinema" today: the art of making and enjoying films.
Thus, after the discovery of cinema itself as a means of communication or art, which is limited above all to the fact of being able to reproduce recorded images (the invention of the Lumière brothers of taking a multitude of photographs and then projecting them very closely to give the appearance of movement), at the end of the 19th century, there have been another series of technical advances that have strengthened the essence of cinema as a whole, namely: animation cinema, with its greatest early exponents, the German Lotte Reiniger and the Argentine Quirino Cristiani; then of course the aforementioned sound cinema, which was established commercially and for the masses around the 1920s in the USA and the 30s in the rest of the world; and then colour cinema around the 1930s. Later, perhaps, leaving aside the particularities of animated cinema (the Reiniger multiplane camera, American 3D cinema, Pedro Alonso Pablos' "solo filmmaking"), we find ourselves before 3D cinema (the one with the famous "glasses") which, to this day, and after a few years since its commercial perfection, has still not fully taken off for a number of reasons.
In short, of all these advances in cinematographic science, and some others, which there must be, but which we will leave out for this brief review, we can confirm that since sound cinema became established, it has been running wild, almost unchanged, on the face of cinematographic lands, that is, the sum of voice synchronisation together with music and other sound effects fixed and added to the relevant video layer delight children and adults throughout our small world. We could also talk about colour films, but let's remember that some films are released in black and white today as well (examples: Steven Spielberg's Schindler's List or the animated film Hazañas bélicas, both dealing with the subject of the Second World War) and can be widely enjoyed by the general public as well. Although let's remember that some films are now made silent as well.
In short, the bulk of the world's population, which makes up what is known as the "general public" in terms of cinematography, is used to consuming sound and colour films, but in this order, because sound films can also be consumed in black and white (for example King Kong or the first Tarzan films); however, it is a little more difficult for us to delve into silent films, especially with German expressionism standing out in this field, in these times.
So, today, this magazine claims that, after the invention of film itself, it is sound cinema that provides substance and cohesion to what is known as "cinema" today: the art of making and enjoying films.
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