The Sounds of Silents

New Books in Performing Arts

What did going to the movies sound like back in the “silent film” era? The answer takes us on a strange journey through Vaudeville, roaming Chautauqua lectures, penny arcades, nickelodeons, and grand movie palaces. As our guest In today’s episode, pioneering scholar of film sound, Rick Altman, tells us, the silent era has a lot to teach us about why sound works the way it does at the movies today. And as our other guest, sound and film historian Eric Dienstfrey tells us, “What we think of today as standard practice is far from inevitable.” In fact, some of the practices we’ll hear about are downright wacky.

Audiences today give little thought to the relationship between sound and images at the movies. When we hear a character’s footsteps or inner thoughts or hear a rousing orchestral score that the character can’t hear, it all seems natural. Yet these are all conventions that had to be developed by filmmakers and accepted by audiences. And as Altman and Dienstfrey show us, the use of sound at the movies could have developed very differently.

Dr. Rick Altman is Professor Emeritus of Cinema and Comparative Literature in the Department of Cinema and Comparative Literature, University of Iowa. Altman is known for his work on genre theory, the musical, media sound, and video pedagogy. He is the author of Silent Film Sound (New York: Columbia University Press, 2004), Film/Genre (Bloomsbury, 1999), and A Theory of Narrative (New York: Columbia University Press, 2008).

Dr. Eric Dienstfrey is Postdoctoral Fellow in American Music at the University of Texas at Austin. Eric is a historian of sound, cinema, and media technology. His paper “The Myth of the Speakers: A Critical Reexamination of Dolby History” won the Society of Cinema and Media Studies’ Katherine Singer Kovács Essay Award for best article of the year in 2016.

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