{"title":"用声音写作弗朗西丝-马里恩在米高梅，1925-1933 年","authors":"Kallan Benjamin","doi":"10.2979/fih.2022.a900042","DOIUrl":null,"url":null,"abstract":"ABSTRACT:This paper examines screenwriter Frances Marion's use of sound in scripts she wrote during the transitional period from silent to sound film. Engaging feminist historiography, screenwriting studies, and sound studies, I argue that Marion's expressive use of narrativized sound in both sound and silent scripts was remarkably innovative, yet underappreciated. Her skillful use of integrated sound helps account for her success in the early 1930s and aligns with the style of sound filmmaking that later came to dominate.","PeriodicalId":426632,"journal":{"name":"Film History: An International Journal","volume":"28 1","pages":"59 - 82"},"PeriodicalIF":0.0000,"publicationDate":"2023-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Writing in Sound: Frances Marion at MGM, 1925–1933\",\"authors\":\"Kallan Benjamin\",\"doi\":\"10.2979/fih.2022.a900042\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACT:This paper examines screenwriter Frances Marion's use of sound in scripts she wrote during the transitional period from silent to sound film. Engaging feminist historiography, screenwriting studies, and sound studies, I argue that Marion's expressive use of narrativized sound in both sound and silent scripts was remarkably innovative, yet underappreciated. Her skillful use of integrated sound helps account for her success in the early 1930s and aligns with the style of sound filmmaking that later came to dominate.\",\"PeriodicalId\":426632,\"journal\":{\"name\":\"Film History: An International Journal\",\"volume\":\"28 1\",\"pages\":\"59 - 82\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2023-06-16\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Film History: An International Journal\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.2979/fih.2022.a900042\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Film History: An International Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2979/fih.2022.a900042","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
ABSTRACT:This paper examines screenwriter Frances Marion's use of sound in scripts she wrote during the transitional period from silent to sound film.通过女性主义史学、编剧研究和声音研究，我认为玛丽恩在有声和无声剧本中对叙事化声音的表现性使用具有非凡的创新性，但却未得到足够的重视。她对综合声音的娴熟运用有助于解释她在 20 世纪 30 年代早期取得成功的原因，并与后来占主导地位的有声电影制作风格相吻合。
Writing in Sound: Frances Marion at MGM, 1925–1933
ABSTRACT:This paper examines screenwriter Frances Marion's use of sound in scripts she wrote during the transitional period from silent to sound film. Engaging feminist historiography, screenwriting studies, and sound studies, I argue that Marion's expressive use of narrativized sound in both sound and silent scripts was remarkably innovative, yet underappreciated. Her skillful use of integrated sound helps account for her success in the early 1930s and aligns with the style of sound filmmaking that later came to dominate.
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