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Daily Viewing. Catherine Grant on Hitchcock's "Blackmail" (1929)

A real-time comparison of the silent and sound versions.
The Daily

From Catherine Grant:

One of the elements that Film Studies For Free appreciates most about online audiovisual film studies (film studies in digital video forms) are the phenomenological possibilities they offer viewers for the experiencing of moving image and sound juxtapositions in real time. We can synchronously feel, as well as know about, the comparisons they make. In other words, unlike written texts, they don't have to remove themselves from film-specific forms of meaning production to have their knowledge effects on us.

Embedded above is FSFF's homemade example of this kind of simple, more or less medium-specific, eloquence: a real-time video juxtaposition, made for the purposes of scholarly comparison, of corresponding sequences from the silent and sound versions of Alfred Hitchcock's Blackmail (1929). It is a work intended to supplement the contribution of an earlier blog entry here, entitled "Thrilling the Ears: Sound in Hitchcock's Cinema" in which the two sequences were separately embedded.

Carry on reading.

Related viewing. A mischievous sound test:

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T.J. Royal less than a minute ago Thank you, thank you, THANK YOU THANK YOU David for linking something on Mubi.com about this wonderful movie! I’d read in Timeout’s 13th Edition Film guide (from 2005) about how this was Hitch’s first sound film, in fact the first British sound film, and how the transition of making the original silent version gave way to the sound version, as well as how Anny Ondra’s voice was deemed too “eastern European” sounding to actually use and was dubbed over, so it’s a joy to have that little snippet with her and Hitch as well! She’s what I’d call a dish. And thanks to Catherine Grant for her Film Studies For Free profile on “Blackmail”!

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