Abie’s Irish Rose: film score, 39

Across the Atlantic, 196

Across the Stream, 40

Acting behind the screen. See Talking Picture Play, The

Aeolight. See Case, Theodore W.

Air Circus, The, 234

Alexander Nevsky, 249

Alias Jimmy Valentine, 246

Al Jolson in a Plantation Act, 147-148

Allefex, 31

Anderson, Joseph L., 41

“Angela Mia” (song), 234

Animatophone, 62

Annapolis, 239

Anna the Adventuress, 63

Antheil, George, 39

À Quoi Rêvent Les Jeunes Filles: film score, 39

Arzner, Dorothy, 242

Audion tube. See De Forest, Lee

Auxetophone, 57

Axt, William, 100, 117

Babe [Ruth] Comes Home, 226

Baby Cyclone, The, 245

Bacon, Lloyd, 196, 212

Ballance, John, 72

Ballet Mécanique: film score, 39

Barker, The, 237

Barry, Iris, 69, 247

Baron, Auguste, 48-50

Barrymore, John, 107, 114, 129, 133, 134, 151

Barrymore, Lionel, 200, 221, 239, 246

Battle of the Sexes, The, 70, 247

Bauer, Harold, 119, 128

Baxter, Warner: star of In Old Arizona, 236; wins 1929 Academy Award, 263

Becce, Giuseppe, 37, 39

Beggar on Horseback: film score, 38

Beggars of Life, 242

Bell, Alexander Graham, 12

Bell, Chichester, 12

Benshi, 40-41

Berglund, Sven Aison, 87-88

Berliner, Emile, 12

Bernhardt, Sarah, 53, 54, 58

Berthon, L. A., 51

Besserer, Eugenie, 151, 247

Better ‘Ole, The, 147, 149-150

Beware of Bachelors, 215

Beware of Married Men, 196

Beynon, G. W., 36

Big Sleep, The: film score, 39

Biograph projector, 46

Bioskop, 27, 35

Birth of a Nation, The: film score, 38

Black, Alexander, 25-27

Black and White (Mammy’s Boy), 167

Blanc, Baroness, 41

Blake, Francis Alexander, 74

Blindfold, 235

Blockade, 238

Blue Bird, The: film score, 38

“Blue Skies” (song), 188, 190

Bogart, Humphrey, 264

Bondman, The: film score, 38-39

Bonime, Joseph, 127

Borzage, Frank, 156

Bowes, Major Edward, 117

Breil, Joseph Carl, 38

Brenon, Herbert, 223

Brice, Fanny, 216, 263

Bristolphone, 226

British Cinephone, 65

Broadway Melody of 1929: wins Academy Award, 268

Broken Blossoms: film score, 38

Brook, Clive, 242-243

Brown, George W., 47-48

Bush, W. Steven, 33

Cagney, James, 265

Cain, John, 4-5

Cameraphone, 63-65

Canton, Allen, 227

Canton System, 227

Capital Courtship, A, 26-27

Capra, Frank, 244-245

Captain Swagger, 239

Carneal, Georgette, 91, 101-102

Carr, Mary, 202, 206

Caruso, Enrico, 70

Casablanca: film score, 39

Case, Anna, 119, 128

Case, Theodore W., 101-102, 153, 155; and Aeolight, 101; and Thalifide Cell, 101; Case-Sponable patents acquired by Fox, 155

Catchings, Waddill, 161

Caught in the Fog, 215

Cavalier, The, 239

“Charmaine” (song), 156

Chew, V. K., 12

Chronochrone, 59

Chronomegaphone, 62

Chronophone, 57-59

Cinemacrophonograph. See Phonorama

Cinématographe (Lumière), 28, 48

Cinephone, 62, 228

Circus Kid, The, 238

Civilization: film score, 38

Clément-Maurice. See Gratioulet

Cohn, Alfred A., 173

Cohn, Harry, 244-245

Coissac, G.-Michael, 50

Columbia studios: sound films in 1928, 244-245

Coquelin the Elder, 53, 54

Corsican Brothers, The, 64

Cortellaphone, 227

Costello, Helen, 202

Couade system, 58

Covered Wagon, The: film score, 38, 99

Craft, Edward B., 103, 104

Crawford, Merritt, 77-80

Crimson City, The, 196

Crofts, W. C., 11

Cros, Charles, 4, 5

Crosland, Alan: recalled by Jack L. Warner, 109; critical neglect, 136-137; career, 137-140; death, 140; directs When a Man Loves, 151; on location in New York for The Jazz Singer, 175; receptive to Jolson’s improvisations, 185; his achievement with The Jazz Singer, 187-188; first deliberate venture into the part-talkie, 198; transfers to Columbia, 244; returns to Warner Bros., 267; makes sound film in Technicolor, 267

Cue sheets, 37

Czerny, Ludwig, 40

Czmark, 74

Daguerre, Louis, 13

Davis, Bette, 264

“Day of Atonement, The” (short story), 173

De Forest, Lee: career, 40, 91-102 passim, 155

Delicious, 256

Demerest, William, 164, 173, 196

Demeny, Georges: career of, 5, 22-24; combines phonograph and Phonoscope, 24

DeMille, William C., 199-200, 261

Dependent machines, 43, 44-45

Deprez, 4, 6

Desormière, Roger, 39

Dial-regulated machines, 43, 45

“Diane” (song), 156

Dickson, W. K. L.: work on Kinetoscope and Kinetophone, 13-22 passim

Disney, Walt: uses Cinephone system, 228; sound films in 1928, 247-251

Domen (Retribution), 100

Domestic Troubles, 196

Donisthorpe, Wordsworth: letter predicting sound feature films, 10-11

Don Juan: first Vitaphone feature, 103; expense of, 114; score for, 116-117, 134-136; plot summary, 129-132; critical evaluation, 132-133; sound and music discussed, 134-136

Dramagraph, 31

Dream Street, 70

Dry Martini, 234

Duddell, William Du Bois, 75

DuPar, Ed, 111, 114, 163, 202

“Duping,” 165

Durant, Will C., 159

Duskes, Alfred, 60

Dussaud, C. F., 51

Eagels, Jeanne, 263

Edison, Thomas Alva: invents phonograph, 3-9; predicts its uses, 9-10; “war” of talking machines, 12-13; interest in talking pictures, 13-18; invents Kinetoscope, 18-20; invents Kinetophone, 20-22; lukewarm interest in talking pictures, 22; markets Vitascope, 28; develops Cinephono-graph, 65; launches Kinetophone (1913), 66-68; discounts problems of Kinetophone, 68-69; ridicules other talking picture systems, 69, 159

Edison Motion Picture Myth (Hendricks), 19

Electrical Research Products, Inc. (ERPI), 89, 161, 218

Elman, Mischa, 119, 127

El well, C. F., 99

Enemies of Women, The: film score, 38

Engl, Josef, 88, 102. See also Appendix E; Tri-Ergon

Entr’acte: film score, 39

ERPI. See Electrical Research Products, Inc.

Fait Divers: film score, 39

Fazil, 233

FBO. See Film Booking Offices

Fejos, Paul, 240

Film Booking Offices (FBO): sound films in 1928, 238

Film composers of silent era, 38-39

Film music: books and articles on, 34-35; beginnings of, 38-39

Filmsparlants (Phonoscènes), 57-58

Finch, Christopher, 248

Finding His Voice, 260

Firnatone, 219, 226, 236-237

First National: sound films in 1928, 236-238

Five-and-Ten-Cent Annie, 196

Ford, Charles, 53, 59

Ford, John, 231, 233

Four Sons, 233

Fox, Julian, 262

Fox, William: acquires rights to Tri-Ergon, 89; sues for patent infringements, 90; files for bankruptcy, 90; forms Fox-Case Corporation, 102; apathetic views of talking pictures, 146, 156; interest in Vitaphone, 153; in the future of sound cinema, 154; acquires Case-Sponable system, 155

Fox: sound films in 1927-1928, 233-236

Fox-Case Corporation, 102, 153-156

Fox Film Corporation, 89, 153-157 217

Fox Movietone, 230-233

Fox Talbot, William Henry, 14

Foy, Brian, 163, 197, 209-210, 215

Freedland, Michael, 169-170

Friese-Greene, William: attempts to make talking pictures, 24-25; letter ignored by Edison, 25; makes first British “sound movie,” 61

Fritts, Chares E., 75

Gallopin’ Gaucho, 248

Gariel, 51

Garity, William, 228

Gaumont, Léon: links phonograph and movie projector, 56; improves synchronization, 57; Chronophone system, 57-60; associated with Poulsen and Pedersen, 60

Gaumont-Poulsen-Pedersen (GPP), 60

Gentilhomme system, 58

Gershwin, George, 231, 256

Ghosts Before Breakfast: film score, 39

Gibl system, 58

Gigli, Beniamino, 151

Give and Take, 241

Glorifying the American Girl, 264

Glorious Betsy, 197, 198-200

Goldwyn, Samuel, 222

Gone with the Wind: film score, 39

Gotham Productions: sound films in 1928, 239

Gottschalk, Louis F., 38

Gramophone: competes with phonograph, 13

Graphophone: competes with phonograph, 13

Grass: film score, 38

Gratioulet, Clément-Maurice, 52-53

Grau, Robert, 65

Graves, Ralph, 69, 167, 244

Great Train Robbery, The, 107

Greed: film score, 38

Green, Abel, 193-194

Green, Fitzhugh, 109, 118, 152, 174

Greenbaum, Jules, 65

Green Forest, The, 60

Gregg, E. S., 100, 106, 218

Griffith, D. W.: score for The Birth of a Nation, 38; uses Kellum disk system for Dream Street, 69; film of The Sorrows of Satan, 146; persuades Jolson to star in Black and White, 167; sues Jolson, 168; uses Movietone for The Battle of the Sexes, 247; on the future of talking pictures, 268

Griffith, Richard, 124

Grindell-Matthews, H., 87

Groove-on-film systems, 72-73

Guild, Leo, 170

Gussow, Mel, 201

Hadley, Henry, 117, 125, 127

Hall, Chapin, 220

Hall, Mordaunt, 124, 125, 128, 147, 198

Halpenny, R.R., 228

Hardy, Professor A. C., 86

Hastings, Charles Edward, 124

Han-A-Phone system, 227

Harrison, P. S., 228, 229, 230

Haunted House, The, 237

Hawks, Howard, 233, 234

Hawthorne, 100-101, 106

Hayes, Hammond V., 76

Hays, Will H.: Vitaphone speech, 123-125

Heller, Herman, 114, 149, 165

Hendricks, Gordon, 10, 14, 15, 18-20 passim

Hepworth, Cecil, 62-63

Hewlett, C. W., 84-85

Higham, Charles, 216

Hindemith, Paul, 39

History of the Kinetograph (Dickson), 14

Hit of the Show, 238

Hollywood: sound features statistics for 1929, 252-253, 267

Hollywood Revue of 1929, 264

Home Towners, The, 214-215

Honegger, Arthur, 39

Honky Tonk, 263

Hopkins, Marcus C., 227

Howe, Lyman H.: sound effects, 31; praised by critics, 33-34

Hoxie, Charles A., 84-85

Humanuva Troupes, 42

Hummel, Ferdinand, 40

Humoresque: film score, 38

Huppertz, Gottfried, 39

Huxley, Aldous: on The Jazz Singer, 178-179

Ibert, Jacques, 39

“In a Monastery Garden” (accompanied tableau), 39

Inhumaine, L’: film score, 39

In Old Arizona, 235-236, 267

Interference, 242-244

Intolerance: film score, 38

Ippolitov-Ivanov, Michael, 38

Iron Horse, The: film score, 38

Isaacs, John D., 15, 16

Italian Straw Hat, The: film score, 39

Janis, Elsie, 147

Jaubert, G. F., 51

Jazz Singer, The: first part-talkie, 103; play version, 148; start of regular Vitaphone feature production, 165; did not make Jolson a star, 166; filming of, 173-175; plot of, 176-177; critical responses to, 177-179, 180-181; recorded dialogue, 181-185; songs in, 186-187, 190; incidental music to, 187-190; 1952 version, 194

“Jeanine, I Dream of Lilac Time” (song), 236

Jeanne, René, 53, 59

Jessel, George: in De Forest Phono-film, 97; monologue in second Vitaphone show, 147; in theater version of The Jazz Singer, 148; audience response to monologue, 149; replaced by Jolson in film of The Jazz Singer, 168-172 passim

Joan the Woman: film score, 38

Jolson, Al: in Vitaphone short, 147-149; movie appearances before Vitaphone, 166; involvement with D. W. Griffith, 167-168; replaces Jessel in The Jazz Singer, 168-172; recounts events leading to The Jazz Singer, 172; makes innovative contributions to The Jazz Singer, 174-175; at premiere of The Jazz Singer, 176; Robert E. Sherwood on, 181; Richard Watts, Jr., on, 191; his later career, 193-194

Jolson, Harry, 176, 214

Jolson Sings Again, 193

Jolson Story, The, 193

Joly, H., 50

Kaleidophone system, 227

Kellogg, Edward, 86, 105

Kellum, Orlando, 65

Kellum sound-on-disk system, 65, 167

Kempinski, Leo, 38

Kennedy, Joseph P., 122

Kinegraphone. See Pallophotophone

Kinetophone (1894), 17, 21-22

Kinetophone (1913) : system described, 66-67; film productions, 67-68; Edison on the future of, 68-69; failure of, 69

Kinetophonograph. See Kinetophone

Kinetoscope: invention attributed to Dickson, 18; apparatus described, 18-19; Hendricks on, 18-20 passim; first exhibition of, 19; commercial debut of, 20; films made for, 20-21; commercial success of, 21; Demeny borrows ideas from, 24; not patented in England, 25; French inventors’ use of, 50

Kinetoscope, The (Hendricks), 19

King Kong: film score, 39

King of Kings, The, 225

Kinobibliothek. See Kinothek

Kinothek (Kinobibliothek), 37

Koenig, Karl Rudolf, 4, 5

Kracauer, Siegfried, 30, 35

Krazy Kat at the Circus: film score, 39

Kuntz photoelectric cell, 82-83

Ladies’ Night in a Turkish Bath, 236

Laemmle, Carl, 65

Landis, Cullen, 202, 206

Lasky, Jesse L., 221

Laurie, Joe, 193-194

Lauste, Eugene Augustin: as child inventor, 76-77; assists Dickson and Latham, 77; holds master patent for synchronized sound and movement, 77; invents string galvanometer, 77; Merritt Crawford on, 77-78, 80; Photocinematophone system, 77-79; Photocinematophone film subjects, 78; Webb’s Electrical Pictures similar to Lauste’s system, 78; Photocinemato-phone system described, 79

Lavedan, Henri, 58

Lawrence, Gertrude, 156

Lee, Davey, 212

Léon-Scott, Edouard, 4

Levin, Harry, 193

Levinson, Benjamin, 108-109

Lights of New York: first feature-length talkie, 103; inaccurate descriptions of, 201; plot of, 202-203; analysis and evaluation, 203-209 passim; microphone placements for, 205-206; dialogue of, 207; music for, 208; critical responses to, 208-209

Lilac Time: Firnatone system used for, 236-237

Lily and the Rose, The: film score, 38

Lindberg, Charles A., 157

Lion and the Mouse, The, 197, 246

Lioret, Henri, 52-53

Lioretographe, 52-53

Little Snob, The, 196

Little Tich, 54, 62

Lonesome, 240

Low, Rachel, 62-63, 157-158, 211

Lumière, Louis and Auguste, 28, 35

McAvoy, May, 173, 200

McDonnell, George P., 227

McDonnell Process, The, 227-228

Machat, Robert E., 226

Macrophonograph, 51

Madalatone, 71-72, 227

Madaler, Ferdinand von, 72, 227

Madaler, Katherina von, 72

Madelon, 240

Magnascope, 147

Magnetic Sound systems, 73-74

Mammy’s Boy. See Black and White

Manhattan Cocktail, 242

Man Who Laughs, The, 224, 240

Marcosson, Isaac F., 66, 68

Marey, Etienne Jules: influence on Edison, 14; teacher of Demeny, 22; constructs first efficient motion picture projector, 23; his revolving gun invention “adopted” by Demeny, 23-24; praises Baron’s sound system, 49

Marked Money, 239

Martin, Clyde, 34

Masks of the Devil, 246

Massolle, Joseph, 88, 102. See also Appendix E; Tri-Ergon

Mayo, Archie L., 216

Me, Gangster, 234

Mein Weg mit dem Film (Messter), 60

Meisel, Edmund, 39

Melier, Requel, 156

Melody of Love, 240

Mendoza, David, 117

Menjou, Adolphe, 146, 221

Meredyth, Bess: career as screenwriter, 140; adapts Manon Lescaut, 151; transfers to Columbia, 244

Mesguisch, Félix: on Baron’s system, 48; assists Baron, 49; worked for the Lumières, 51; shoots films for Phonorama, 52; European tours with Phono-Cinéma-Théâtre, 53, 55; account of attempt to disrupt his show, 55; his discovery of lost films of Phono-Cinéma-Théâtre, 55

Messter, Oskar, 60

Metro-Goldwyn-Mayer: sound films in 1928, 245-246

Meyers, Elman, 94

Mickey Mouse: See Steamboat Willie

Midnight Taxi, The, 215

Milhaud, Darius, 39

Million and One Nights, A (Ramsaye), 15

Miss Jerry, 26, 27

Mother Knows Best, 234

Mother Machree, 233

Movietone: Aeolight fundamental to, 101; De Forest on, 102; system named by William Fox, 155; first program, 156; second program, 156; short films, 157, 230-232; newsreels, 157, 230-231; recorded slogan, 215; system available to main Hollywood studios, 219; Bernard Shaw short, 231-232

Murdock, J. J.: conflict with Warner Bros., 159-160

Murphy, Frank N.: invents incandescent lighting system, 116, 163

Music. See Film music

Mussolini, Benito, 157

Muybridge, Eadweard: meets Edison, 14; Hendricks on, 14-15; proposes combination of Zoöpraxiscope and phonograph, 15; famous Horse-in-motion experiment, 15-16; kills wife’s lover, 15; other work on photographing motion, 16

“My Annapolis and You” (song), 233

“My Mammy” (song), 190

My Man, 216

Napoleon: film score, 39

Napoleon’s Barber, 231

New Babylon, The: film score, 39

Night Watch, The, 237

Norton, E. E., 63

Oakman, Wheeler, 202, 206-207

O’Connor, Eddie, 67, 68

October: film score, 39

Old San Francisco, 164-165

On Trial, 215

Operator-adjusted machines, 43, 45

Optical sound systems, 74-102 passim, 154-157, 223-230 passim

Orphans of the Storm: film score, 38

Our Dancing Daughters, 245

Paléophone, 5

Pallette, Eugene, 202

Pallophotophone (Kinegraphone), 85-86

Paper-strip phonograph, 7

Paramount: uses Kinegraphone (Pallophotophone), 85-86; sound films in 1928, 241-244

Paramount on Parade, 264

Parks, Larry, 193

Parsons, C. A., 57

Pasquella, G. D., 35, 37

Pathé, Charles, 50, 51

Pathe Exchange: sound films in 1928, 239

Patriot, The, 241

Pay As You Enter, 196

Pedersen, P. O.: association with Gaumont, 59-60; works with Poulsen on magnetic sound system, 73-74; co-inventor of Tonfilm system, 91

Peep machines. See Kinetoscope

Perfect Crime, The, 238

Peters, William Frederick, 38

Phonautograph, 4, 5, 6, 12

Phono-Cinéma-Théâtre, 52-56, 113

Phonofilm: system described, 93-94; named by De Forest, 95; preview of, 96; subjects filmed for, 96-100 passim; Hollywood reactions to, 98, 155-156; critical reactions to, 98-99; technical objection to, 99; Fox’s opposition to, J. J. Murdock’s interest in, 160-161; basis of Cinephone system, 228. See also De Forest, Lee

Phonofilm Company (General Talking Pictures), 102

Phonograph: Edison’s invention of, 3-9; dubious claims of other inventors, 4-6; first published account of, 9; predictions about, 9-12; rival talking machines, 12-13; Edison’s attempts to improve, 13; combined with microphotographs, 13; combined with Zoöpraxiscope, 15; combined with movie projector, 17, 27, 42-70 passim, 103-104, 228-229; combined with Kinetoscope, 19, 21-22; used by Friese-Greene, 24-25, 61; Lyman Howe’s Phonograph Concerts, 33; auto-change systems, 46; electrical recording of disks, 104. See also Bristolphone; Cameraphone; Chronophone; Cortellaphone; Firnatone; Han-A-Phone; Kinetophone; Liore-tographe; Phono-Cinéma-Théâtre; Phonorama; Photokinema; Remaphone; Vitaphone; Vocafilm

Phonorama, 50

Phonoscènes. See Filmsparlants

Phonoscope, 5, 24

Photocinematophone, 77-80

Photographophone, 75-76

Photokinema, 65-69

Photophone (Berglund system, 1921), 88

Photophone (Valiquet system, 1908), 65

Photophone (RCA system, 1928), 224-225

Plane Crazy, 248

Plastered in Paris, 234

Porten, Henny, 60

Potemkin: film score, 39

Poulsen, M. Valdemar: association with Gaumont, 59-60; works with Pedersen on magnetic sound system, 73-74; co-inventor of Tonfilm system, 91

Powder My Back, 196

Prep and Pep, 235

Propjectophone, 72

Race for Life, A, 196

Ramsaye, Terry, 15

Rapee, Erno, 37, 38, 233, 234, 240

Raphaelson, Samson, 148, 173

Réjane, 53, 54, 58

Remaphone, 147, 226, 227

Retribution. See Domen

Revenge, 247

Rice, Chester W., 86

Rich, Walter J., 107, 111-113 passim, 120, 161

Richie, Donald, 41

Ries, Elias E., 77, 93

Riesenfeld, Hugo, 38, 95, 99, 165, 225, 240, 247

Riley the Cop, 235

Rinty of the Desert, 196

River, The, 239

River Pirate, The, 234

RKO-Pathe: sound films in 1928, 239

Roach, Hal, 221

Robin Hood: film score, 38

Robinson, Edward G., 264

Roscoe, Philip, 148

Rosenblatt, Cantor Joseph: in Vitaphone concert, 163; contracted to sing in The Jazz Singer, 173-174; songs recorded in New York, 174; sings the “Yahrzeit” in The Jazz Singer, 187

Rostand, Edmond, 58

Rothafel, S. L., 233, 234

Rühmer, Ernst Walter, 71, 75-76

Sadoul, Georges, 50, 54

Saint Joan, 158

Saint-Saens, Camille, 38

Sale, Chic, 156

Sargent, Epes W., 142, 150

Sawdust Paradise, The, 242

Scarlet Lady, The, 244

Scarlet Seas, 237

Schenck, Joseph M., 222

Schertzinger, Victor, 38

Screenwriters: transition to sound, 265-266

Seventh Heaven, 156

Sex Life of the Polyp, The, 231

Shaw, Bernard: De Forest Phonofilm of, 97; Movietone of, 231-232

Sherwood, Robert E., 181

Shostakovich, Dmitri, 39

Show Boat, 264

Show Folks, 239

Show Girl, 237

Show of Shows, The, 263, 264

Show People, 246

Sibelius, Jean, 39

Sieben, Pearl, 169

Siegfried: film score, 100

Silvers, Lou, 187, 213

Simon, H., 76

Simon, Walter Cleveland, 38

Singing Arc Light, 76

Singing Fool, The: trailer for, 211; originally titled Sonny Boy, 212; premiere of, 212; plot of, 212-213; critical responses to, 213; songs in, 213-214

Skladanowsky, Max and Emil, 27, 35

Slaughter, Nugent, 163

Smeck, Roy, 127

Smith, Cortland, 155

Sonny Boy. See Singing Fool, The

“Sonny Boy” (song), 214

Sortie des Usines, La, 28

So This Is College?, 267

Sound, transition to: L. Barrymore on, 221; Jesse L. Lasky on, 221; Adolphe Menjou on, 221; Irving Thalberg on, 221; Hal Roach on, 221; Samuel Goldwyn on, 222; Joseph M. Schenck on, 222; King Vidor on, 222-223; Herbert Brenon on, 223; attitude of theater critics, 253; reactions of theater managers, 253; plight of movie theater musicians, 253-256; effect on composers, 256; effect on stage employees, 256-257; effect on projectionists, 256-257; reactions of blind and deaf movie patrons, 257; various objections, 258; industrial mergers of European film companies, 258-259; transatlantic industrial wars,” 258-260; in USSR, 260; in Japan, 261; effect on star system, 261-265; effect on Broadway stars, 262-263;effect on screenwriters, 265-266; effect on film genres, 266-267; outdoor shooting, 267; D. W. Griffith on, 268

Sound effects machines, 31

Sound features: statistics of. See Hollywood: sound features statistics for 1929

Sound-on-disk: electrical recording, 103-106; problems in 1928, 228-229. See also Phonograph; Vitaphone

Sound-on-film: problems in 1928, 229 230. See also De Forest; Fox; Fox-Case; Hoxie; Lauste; Movietone; Phonofilm; Tykocinski-Tykociner

Sound revolution in Hollywood: See Sound, transition to

Sound systems (1928), 223-228

Sound systems (1929): efforts to achieve compatibility, 259

Sponable, E. I.: assists Case with Aeolight, 101; sells sound system to Fox, 153; sound system demonstrated in New York, 155

Stage Three, 161-163

State Street Sadie, 211

Steamboat Willie: first public appearance of Mickey Mouse, 248; creative use of sound in, 249-250; recording sessions for, 250; distribution problems, 250-251

Stein, Sigmund Theodor, 74

Steiner, Max, 38-39

Stirling, Professor W., 45

Street Angel, 234

Submarine, 244

Sunrise: film score, 38

“Swanee River” (film scene with musical accompaniment), 39

Synchronization: problems with sound-on-disk systems, 43-46, 63, 68, 228-229. See also Dependent machines; Dial-regulated machines; Operator-adjusted machines; Phonograph; Unitary machines

Synchroscope, 65

Tainter, Charles Sumner, 12

Talbot, Fox. See Fox Talbot

Talbot Talbot, Frederick, 56-57

Talking Picture Play, The, 42

Talley, Marion, 119, 127, 151

Tartuffe: film score, 39

Taylor, Alma, 63

Telegraphone, 73

Ten Commandments, The: film score, 38

Tenderloin, 197-198

Terror, The, 210-211

Thalberg, Irving, 221

Thalifide Cell, 101

Theisen, Earl, 75

They’re Coming To Get Me, 156

Thief of Bagdad: film score, 38

Thomas, Danny, 194

Thomassin, F. A., 62

Tiffany-Stahl: sound films in 1928, 239

Tinfoil Phonograph, 4

Titanifrone, 227

Toilers, The, 239

Tonfilm, 91

Trader Horn, 267

Transition to sound. See Sound, transition to

Tri-Ergon: first demonstration, 88; transition of rights to, 88-89; flywheel patent, 89; Fox control of Western Hemisphere rights, 89; litigation over, 89-90; inventors sued by De Forest, 102. See also Appendix E; Engl; Massole; Vogt

Tucker, Sophie, 263

Two Lovers, 246

Tykocinski-Tykociner, Joseph: career, 80-82; proposes to record sound on film, 82; uses photoelectric cell, 82, 83; improvises apparatus, 83; demonstrates his system, 83-84; disagreements with University authorities, 84; system rejected by industry, 84

Uncle Tom’s Cabin, 224, 240

Unitary machines, 43-44

United Artists: sound films in 1928, 246-247

Universal studios: sound films in 1928, 240-241

Unknown Soldier, The: film score, 39

Unmasked, 96

Valiquet, L. P., 65

Vidor, King, 222-223, 246

Vitagraph Company: 1908 sound system, 65; acquired by Warner Bros., 108; studio used for production of early Vitaphone shorts, 111, 114; name echoed in Vitaphone, 112

Vitaphone: preparation of first program, 114-122; cost of installation, 122; premiere program details, 123-136; critical reactions to, 124-125, 141-142; details of second program, 147-150; details of third program, 151; short films issued regularly, 163-164; system used for The Jazz Singer, 182-190 passim; four main kinds of movie, 195-196; feature and short film productions in 1928, 196-197; system used for Lights of New York, 204-209

Vitaphone Corporation: establishment of, 112; sets up executive offices in New York, 152; negotiations with Fox, 153-154; Warner Bros. in control of, 161

Vitascope, 28, 46-47

Vivaphone, 62

Vocafilm, 147, 226

Vogt, Hans, 88, 102. See also Appendix E; Tri-Ergon

Volga Boatman, The, 112

Volga Boatmen, The, 112

Von Madaler, Ferdinand. See Madaler, Ferdinand von

Von Madaler, Katherina. See Madaler, Katherina von

Vorbeck, Ernest, 61

Walker, Alexander, 166, 169

Walsh, Raoul, 234, 235-236

Warming Up, 241

Warner, Harry: recommends sound system for musical accompaniment only, 110-111; statement on Vita-phone-Fox agreement, 154; becomes president of Vitaphone Corporation, 161

Warner, Jack L.: on the fantastic success of Warner Bros., 108; claims with regard to sound movies, 109; becomes vice-president of Vitaphone Corporation, 161; reputed conflict with George Jessel, 170

Warner, Sam: excited by sound films at Bell Labs, 108-110; arouses Harry Warner’s interest in sound films, 110; reputed director of The Volga Boatmen, 112; responds to J. J. Murdock, 159; offers yearly contracts to vaudeville stars appearing in sound movies, 160; untimely death of, 192

Warner Bros.: involvement with development of sound cinema, 103, 108-218 passim, 252, 267; sound film productions during 1928, 210-217; buy up music publishers, 217

Watkins, Stanley, 111, 114

Watts, Richard, Jr., 175

Way Down East: film score, 38

Webb, George Regester: demonstrates disk system, 70; Electrical Pictures, 78

Wedding March, The: film score, 39, 241; color sequences, 242

Weinberg, Herman G., 241

Wellman, William, 86, 242

Werrenrath, Reinald, 147

When A Man Loves, 151

“When Love Comes Stealing” (song), 240

Widescope, 147

Wilson, Mortimer, 38

Wings, 86-87

Woman Disputed, The, 247

Women They Talk About, 214

Yankee Clipper, 156

Zamecnik, J. S., 37, 39

Zecca, Ferdinand, 50, 51

Zeotrope: combined with phonograph, 14-15

Ziegfeld stars in Hollywood, 263-264

Zimbalist, Efram, 119, 128

Zoöpraxiscope: combined with phonograph, 15, 16

Zouary, Maurice H., 91, 94, 155, 255

Zukor, Adolph, 42, 98, 120