In lieu of an abstract, here is a brief excerpt of the content:

  • Index to Volume 12


Brown, Geoff, When Britannia Ruled the Sound Waves: Britain's Transition to Sound in Its European Context 93
Brown, Geoff and Porter, Laraine, Introduction 87
Dixon, Bryony, Variable Areas: The Transition to Sound and the Birth of the Robot Voice 259
Durrand, Mark, Mission: Impossible-ing: Towards a Theory of Cinematic Vitality 53
Glitsos, Laura, The Camera Phone in the Concert Space: Live Music and Moving Images on the Screen 33
Helmers, Maike, The Transition from the Silent into the Sound Era in German Cinema: The Innovative Use of Sound in Pabst's Westfront 1918 121
Izod, John, Empowering Cinema Operators in the USA and UK, 1927–1933 217
Neely, Sarah, Tantalising Fragments: Scotland's Voice in the Early Talkies in Britain and Jenny Gilbertson's The Rugged Island: A Shetland Lyric (1934) 171
Özyilmaz, Özge, Responses of the Film Industry and Audiences to the Introduction of Sound Cinema in Turkey (1929–1933) 241
Porter, Laraine, 'Have You a Happy Voice?': Women's Voices and the Talkie Revolution in Britain 1929–1932 141
Schwartz, Daniel, Sounding the Inaudible: Rethinking the Musical Analog y in the City Symphonies of Walter Ruttmann and Dziga Vertov 1
Sibanda, Nyasha, The Silent Film Shortage: The Cinematograph Exhibitors' Association and the Coming of Sound, 1928–1929 197


Goldsmith, Melissa U.D., Willson, Paige A., and Fonseca, Anthony J., The Encyclopedia of Musicians and Bands on Film, review by Erik Heine 80
Gopinath, Sumanth and Stanyek, Jason (eds), The Oxford Handbook of Mobile Music Studies, Vol. 1 and Vol. 2, review by Andra Ivănescu 75


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