A Century of Sound - A History of Sound in Film - Beginning: 1876-1932 "is the first part of the educational DVD series, starring Robert Jeter, a world-renowned protectionist and conservation officer at the UCLA School of Film and Science; Television archives. The Century of Sound was first published in 1992 and has since been featured in special events; Journey of Force "; In its unique and unforgettable film collection, the introduction of cinematic sound is recorded. This CD originated from Robert Gitt's lecture on early sound, who served as a preservation officer for the UCLA Film Archive for a long time. Kit supervised the restoration work of many important films. In 1991, his team launched the Vitaphone project. Vitaphone was a commercially successful sound system developed by Warner Bros. between 1926 and 1931, which used phonograph records instead of optical tracks on film. For decades, many CDs have been damaged or separated from their original scrolls, and Vitaphone shorts have been left in jars, falling silent. Gitt and the company are working to find as many CDs as possible for the surviving Vitaphone movies. Over the years, they have been very successful in tracking them and reconnecting sound and images in a film format that can be displayed on modern projectors. You can track the progress of the project since its inception through its online communication, which currently spans from autumn 1991 to winter 2007/08. Colleagues urged Gitt to produce a DVD of his speech on sound, which was extensively illustrated through editing. He took this opportunity to expand the content of his speech and added more and longer segments. Most documentaries about film history only include short segments of any scene. Gitt wisely chose to include the entire scene, and he had access to high-quality archival prints of important early sound films. He also provided early testing conducted by companies responsible for sound innovation, as well as documentary short films they used when selling processes to industry executives. Gitt does not write scripts for others, but appears as a speaker and narrator. He humorously acknowledged the boredom of some technical short films and acknowledged the occasional occurrence of foolish or racist content in some movies. However, at the same time, he clearly stated the significance of the examples he gave, which were more interesting than looking at them alone without context. The result provides a series of extraordinary clips that teachers can utilize even if they don't have time to play the entire lengthy documentary. For Vitaphone, there are some early short films, such as the entire duel scene in "Don Juan," and expanded excerpts from "The Better Ole," "Old San Francisco," "New York Lights," etc. For Fox Pictures, there are scenes from "Seventh Heaven" and "Sunrise", as well as Shaw's charming appearance on "Movie News". Despite some vivid moments, many early sound films were slow and clumsy due to limitations in available devices. Gitt balances them with some familiar examples that showcase the early imaginative use of this new technology: the "Paris, please keep it as it is" number in Lubitsch's "Parade of Love," a generous excerpt from Mamoulian's "Applause," and a part of "I am a fugitive from the Gang of Chains" (note, this will leak the ending). If teachers' schedules do not allow them to spend valuable screening time on early sound features, they can use these clips to give students a fairly good understanding of the transition period. We have all heard about how the careers of certain actors are destroyed by sound, but for teachers, how to showcase this in the classroom has become another issue. Gitt also meets this requirement. In the bonus (very little, because the movie contains so much), there is one about the fate of the actors. For each film, Gitt provides clips of the actor in both silent and sound films. Actors whose careers plummeted in sound films include Rod Larrock, Norma Talmachi, John Gilbert, and Charles Farrell. The people who successfully completed the transition were Ronald Coleman, Joan Crawford, William Powell, Laurel, and Hardy. Gitt presents a reasonable case to explain why the public has responded to every participant. As the title of this CD suggests, it will become part of a three part documentary series covering the entire century. If Gitt continues to obtain the kind of materials he introduces here, the result should be an impressive overview of the topic, which is a blessing for educators. If we had come up with an ideal documentary theme for early sound education in the 1970s and 1980s, it would have looked a lot like 'The Century of Sound' - except for all the materials we couldn't imagine existing in the vaults, waiting to be discovered and restored.