Sammelbandbeitrag

Erschienen in: Reassessing the Hitchcock Touch : Industry, Collaboration, and Filmmaking

Herausgeberliste: Schwanebeck, W

Jahr der Veröffentlichung: 2017

Seiten: 21-40

ISBN: 978-3-319-60007-9

eISBN: 978-3-319-60008-6

DOI Link: https://doi.org/10.1007/978-3-319-60008-6_2

Auflage: 1

Abstract: 

With Blackmail (1929), Alfred Hitchcock ended his silent-film period and simultaneously opened up the field of sound film in Great Britain. Yet as far as the use of music and sound are concerned, the two versions of Blackmail (the silent one and the sound version) are similar, though not identical. It is Hitchcock’s specific sound aesthetics which paves the way for British film as well as for his own development as a filmmaker. A comparison between Blackmail and the first American sound film, The Jazz Singer (1927), reveals the ways in which Hitchcock continues to apply silent-film conventions whilst at the same time going beyond them.

Harvard-Zitierstil: Bullerjahn, C. (2017) Facing the Past as Well as the Future: Music and Sound in Hitchcock’s Early British Sound Films, in Schwanebeck, W. (ed.) Reassessing the Hitchcock Touch : Industry, Collaboration, and Filmmaking. 1. Basingstoke: Palgrave Macmillan, pp. 21-40. https://doi.org/10.1007/978-3-319-60008-6_2

APA-Zitierstil: Bullerjahn, C. (2017). Facing the Past as Well as the Future: Music and Sound in Hitchcock’s Early British Sound Films. In Schwanebeck, W. (Ed.), Reassessing the Hitchcock Touch : Industry, Collaboration, and Filmmaking (1, pp. 21-40). Palgrave Macmillan. https://doi.org/10.1007/978-3-319-60008-6_2