Meet me in St, Louis and the Aspect of Sound :: essays research papers fc

The Aspect of Sound in wager Me In St. LouisIn 1904 Eugene Lauste successfully recorded salutary onto a piece of photographic frivol off. This subterfuge was known as a Sound Grate the results where still further to crude to be used to public display. The cameras used to film The Talkies as they where known, had to be kept in enormous soundproof casing. This immediately hindered directors creativeness and made movies such as Meet Me in St. Louis (1944) much more than rigid. Because of the fascination with the lip-syncing that this new technology achieved less attention was played to former(a) attributes that silent films used such as the comedic elements in Charlie Chaplins urban center Lights (1931.)The invention of talking pictures also had severe repercussions on the censorship process. ab initio the entire process was nearly impossible, as any cuts made would feel an effect on the synchronisation of the sound and the film. Minnellis 1944 musical Meet Me In St. LouisSe rves to implicate the contemporary 1944 audience (Mundy, J 1999.)This because in legion(predicate) ways the film aims to personify a period of leaving and turn as was the case in America during the Second World contend period. This can be witnessed through Rose Smiths (Lucille Bremer) loss of a possible fianc in New York as well as the heartache the entire family feels of the possibility of moving away from St. Louis to New York. antic Mundy (1999) sums this up in the following quote Like so umpteen folk musicals, the film is suffused with a yearning nostalgia for a cultural medieval which is both desirable and as the text suggests attainable. This also reflects upon the 1944 audience whereby they leave be yearning for a happier past when there is no war. The film uses the device of music to make it seem as if this is attainable for the audience. Andre Bazin sawing machine the movement of film as a positive progression towardsA progressive movement toward an ultimate goal a total and polish off representation of reality... the reconstruction of a perfect illusion of the outside manhood in sound, colour, and relief (http//www.thestranger.com/2001-07-05/periphery.html)Bazin called this the Myth of Total Cinema. He believed that a total representation of reality was an ideal. Musicals are popularly believed to be leading away from the ideal of total cinema. This is because they are filmed using non-diegetic sound. This is to say sound that originates from outside of the film.