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

The Aspect of Sound in Meet Me In St. LouisIn 1904 Eugene Lauste successfully recorded sound onto a piece of photographic take away. This invention was known as a Sound Grate the results where even far 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 right off hindered directors creativity and do movies such as Meet Me in St. Louis (1944) a lot more rigid. Because of the fascination with the lip-syncing that this new technology achieved less attention was vie to other attributes that silent films used such as the comedic elements in Charlie Chaplins City Lights (1931.)The invention of talking pictures also had severe repercussions on the security review process. Initially the entire process was nearly impossible, as any cuts made would have an effect on the synchronisation of the sound and the film. Minnellis 1944 melodic Meet Me In St. LouisServes to implicate the contemporary 1944 hearing (Mundy, J 1999.)This because in many ways the film aims to personify a period of want and change as was the case in America during the Second field War period. This can be witnessed through Rose Smiths (Lucille Bremer) loss of a possible fianc in unused York as considerably as the heartache the entire family feels of the possibility of moving away from St. Louis to New York. John Mundy (1999) sums this up in the following quote Like so many folk musicals, the film is suffused with a yearning nostalgia for a heathen past which is both desirable and as the text suggests come-at-able. This also reflects upon the 1944 audience whereby they will 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 saw the movement of film as a entirety advancement towardsA progressive movement toward an ultimate goal a total and complete representation of reality... the reconstr uction of a perfect illusion of the exterior world 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 starring(p) away from the ideal of total cinema. This is because they are filmed using non-diegetic sound. This is to reckon sound that originates from outside of the film.