The Relations between Sound and Avant Garde Film in the Silent Era

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ACKNOWLEDGEMENT

No words can express my appreciation and gratitude to my research advisor _______ through the course of this research, Professor _____has taught me numerous values that extend well beyond the realm of _________ (Your Subject Name). His emphasis on dedication to work and his valuable and practical insights of life are some of the major highlights of my education at The University _________. To Professor _____, I say with great respect, thank you very much.

It is a great honour for me to have Professor _______ on my dissertation committee. His insightful suggestions and comments are a major asset to this research. I learned so much from Professor ______, and I will always remember him as a truly superb teacher. To Professor _____, I am greatly indebted.

I would like to thank Professor ______ for his contribution to this research. Professor _____ has provided me with essential input and guidance as an outside member of my committee. His remarks and suggestions are greatly appreciated.

I would like to thank _____________ for the support they had provided me throughout the research project.

I would like to thank _____________ for their support and help in this research.

DECLARATION

I [type your full first names and surname here], declare that the contents of this dissertation/thesis represent my own unaided work, and that the dissertation/thesis has not previously been submitted for the academic examination towards any qualification. Furthermore, it represents my own opinions and not necessarily those of the University.

Signed __________________ Date _________________

ABSTRACT

In this study, the researcher aims to determine the relations between sound and avant garde film in the silent era. Film historian Tom Gunning argues persuasively that actuality films and narratives in the early period have more in common than this rather bipolar, seemingly mutually exclusive division might suggest. Generally, though, available evidence seems to indicate that not a great deal of thought was put into the use of sound by many avant-garde filmmakers. This would have undoubtedly stemmed from the fact that many artists and critics who were exploring the artistic potentials of cinema in the 1920s were primarily concerned with the medium as a visual art. Thus, many films were created as visual artefacts, while the musical accompaniment to such films was oft en subject to the whim of the exhibitor. Furthermore, the researcher opted for qualitative methodology. Secondary data enable the researcher to determine the relationship between sound and avant garde film in the silent era, it also helped to explore various aspects of the silent era and the significance of avant garde and sound. Qualitative method helped the researcher to analyzed the data in accordance to the requirement of the research. Finally, the researcher concludes its research by summarizing the overall findings of the research.

TABLE OF CONTENTS

ACKNOWLEDGEMENTII

DECLARATIONIII

ABSTRACTIV

CHAPTER 1: INTRODUCTION1

Background of the Study1

Introduction2

Purpose of the Study4

Problem Statement4

Rationale of the Study4

Aims and Objectives5

Theoretical Framework5

Research Questions6

CHAPTER 2: LITERATURE REVIEW7

Avant-Garde7

Avant-Garde Film8

Silent Era and Film Audiences10

Theories of Sound12

Sounds and the Silent Era14

Sound and Films15

CHAPTER 3: ...