206
Fig. 2: Django Unchained soundtrack, Tarantino’s liner notes
Fig. 3: A model of the Mystic Writing Pad (UK, 1950s)
207
Fig. 4: Edison’s Kinetophone (1895)
Fig. 5: The Biophon projection device [Deutsches Museum, Munich]
208
Fig. 6 and 7: Tonbilder film image carrier (35 mm film)
Fig. 8 and 9: Tonbilder film sound carrier: Biophon shellac disc [Pavillon-Duett, 1907, private collection Stephan Puille Berlin;
Rauschlied aus “Künstlerblut”, 1910, Österreichische Mediathek Wien]
209
Fig. 10: Patent drawing for the Biophon system (Oskar Messter, 1903): Projector (a), screen (b), gramophone (c), motors (d, e), coil system (f), brushes (g),
voltage sources (h).
Fig. 11: The Biophon gramophone, 1910
210
Fig. 12: Tonbilder film shooting: “Pre-synchronic” image-sound recording,
Messter-Studio Berlin, 1910
Fig. 13: Starting mark in a Tonbilder film Fig. 14: Starting mark in a Tonbilder shellac disc [Private collection Stephan Puille]
212
Fig. 16: List of the reconstructed Tonbilder films
Film Title
Production, Year Credits Film Material Archive Nr.
1 Am Elterngrab Internationale Kinematograph- und Lichtbildgesellschaft, 1907
35 mm nitrate, dupe negative of the Thirties
SDK 02126-N
2 Schutzmannlied (from “Donnerwetter - tadellos”)
Deutsche Mutoskop- und Biograph GmbH, 1908
Actor: Henry Bender
16 mm acetate reversal copy
SDK 03951-K
3 Liebes Männchen folge mir (from “Zigeunerliebe”)
Duskes Kinematographen und Film-Fabriken GmbH, 1910,
director: Albert Kutzner
16 mm acetate reversal copy
SDK 03670-K
4 Militärische Disziplin
Deutsche Bioscop GmbH Berlin, 1910
Operator: Guido Seeber
35 mm nitrate positiv
SDK 00097-N
5 Babylied Messter‘s Projektion GmbH, 1904
35 mm nitrate positive, hand-painted
SDK 01490-N
Fig. 17: List of the Tonbilder shellac discs
Shellac Disc Title Production, Year Interpreters Author,
Composer Matrix
1 Am Elterngrab Gramophone 2-42799 Berlin, April 1904
Karl Ottemar (Tenor) Grammophone Orchestra, cond. Bruno Seidler-Winker
Emil Winter-Tymian op. 202
2093 1/2 h
2 Schutzmannlied (from the 1905 theatre revue of the Metropol-Theater “Donnerwetter, tadellos!”)
Zonophone X-22892 Berlin, August 1908
Schutzmann Knautschke: Henry Bender (actor in the film as well) Gramophone-Orchestra, cond. Bruno Seidler-Winker
Paul Lince, Julius Freund
13613-u
3 Liebes Männchen, folge mir (from “Der Zigeunerbaron”)
Jumbo A 97132 Wien, Frühjahr 1910
Jolan: Mizzi Jezel Kajétan: Karl Schöpfer
Franz Léhar, Alfred M. Willner, Robert Bodanzky
Vo 858
4 Lustiges auf dem Kasernenhof (sound for Militärische Disziplin)
Messter‘s / M.P.510 Berlin, August/ September 1903
Gustav Schönwald
Gustav Schönwald
1791 x
213
Fig. 18: Comparison between image and sound timeline in Avid DS
Fig. 19: The presentation of the Tonbilder films at the Il Cinema Ritrovato festival, Bologna 2012.
214
Fig. 20: Phono-Cinéma-Théâtre film image carrier (35 mm film with 3 central perforations)
Fig. 21 and 22: Phono-Cinéma-Théâtre films sound carrier (phonographic cylinders)
216
Fig. 24: The Chronophone system (Gaumont)
Fig. 25: Chronophone film image and sound carriers, details (35 mm film with starting mark, gramophone disc)
217
Fig. 26 and 27: Filmparlant shooting: image and sound synchronous recording
Fig. 28 and 29: Vitaphone film image and sound carriers (35 mm film, sixteen-inch electrical disc)
218
Fig. 30: Vitaphone engineer George Groves at a 1925 electrical disc-cutting lathe for
sound movies [The Granger Collection, NYC]
Fig. 31: Craft demonstrating the Vitaphone system [Collection AT&T Archives, Warren, New Jersey]
219
Fig. 32: ERPI projector device for sound-on-disc films [The Granger Collection, NYC]
Fig. 33: The Vitaphone dispositif, advertisement by Electrical Research Products Inc. printed in 1929 in The New Yorker and Saturday Evening Post
[Collection AT&T Archives, Warren, New Jersey]
220
Fig. 34: Nederlands Filmmuseum venue in Vondelparkpavilijoen
Fig. 35: The new building of the Eye Film Institute Netherlands
222
Fig. 38: Cinema 1, built-in historic organ near the cinema screen
Fig. 39: The presentation of The Spanish Dancer
with live musical accompaniment
223
Fig. 40: Cinema 2 with the grandstand seating retracted
on occasion of the installation and performance of the Circo Togni Home Movies
Fig. 41: Cinema 2 during the performance of the Circo Togni Home Movies
225
Fig. 44: The Exhibition Space, Found Footage: Cinema Exposed exhibition
Fig. 45: The Exhibition Space, set up for the Expanded Cinema: Isaac Julien, Fiona
Tan, Yang Fudong exhibition
226
Fig. 46: The Exhibition Space, set up for the Oskar Fishinger – Experiments in
Cinematic Abstraction 1900-1967 exhibition
Fig. 47: The Exhibition Space, set up for the Oskar Fishinger – Experiments in Cinematic Abstraction 1900-1967 exhibition
227
Fig. 48: The Exhibition Space, set up for the Oskar Fishinger – Experiments in
Cinematic Abstraction 1900-1967 exhibition
Fig. 49: The Basement, Panorama