Becker J.A.'s The Compton and Duane Effects PDF

By Becker J.A.

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Geduld detalla en un apéndice la producción cinematográfica de 1929 en Hollywood, separada por empresas y por sistemas de sonido. Contra 67 títulos en Vitaphone, de Warner Brothers y su socia First National, hay 180 en Movietone, con la producción íntegra de Fox, Paramount, Metro, Universal y Artistas Unidos. El nuevo sistema Photophone figura con 41 títulos de empresas menores. En 1935 la Warner admitió la derrota y copió The Jazz Singer en Movietone, para un reestreno que no tuvo mucha repercusión.

Los Sinclair llegaron 63 HISTORIAS DE PELÍCULAS a padecer crisis de nervios y a hipotecar sus casas, y terminaron por ver a Eisenstein como un artista maniático y egoísta, que sólo pensaba en su éxito personal o que quizás sólo deseaba demorar su regreso a Rusia. Como administrador de los fondos y supervisor de la operación, Hunter Kimbrough tomó, desde luego, el bando de su cuñado, protestando a su vez contra Eisenstein (que podía desaparecer diez días en una expedición a la costa sin dar explicaciones) y contra la burocracia mejicana, que no hacía más que poner trabas y cuyos funcionarios eran venales, dormían la siesta, no asistían a las citas o no atendían trámites que ellos mismos habían impuesto.

La Warner Brothers, fundada en 1923, tenía como únicas estrellas al perro Rin Tin Tin y al célebre John Barrymore. En 1924 la empresa compró una estación de radio, que era la gran novedad de la década. De su instalación en California se hizo cargo el ingeniero Benjamin Levinson, de Western Electric, quien conoció así a Sam Warner y le habló de los experimentos en sonido que se hacían en Nueva York. Tras una visita a los laboratorios Bell en Nueva York, fue Sam Warner quien introdujo la idea de un cine mudo sincronizado con discos.

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The Compton and Duane Effects by Becker J.A.

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