205

Figures

Fig. 1: Lee De Forest’s Audion advertisement (1929)

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]

211

Fig. 15: A Biophon-Theater Program

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)

215

Fig. 23: The Phono-Cinéma-Théâtre poster by François Flameng

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

221

Fig. 36: Opening of the new building of the Eye Film Institute Netherlands

Fig. 37: Cinema 1

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

224

Fig. 42: Peter Kubelka’s Invisible Cinema

Fig. 43: The Exhibition Space

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

228

Fig. 50: The Basement, Panorama

Fig. 51: The Basement, Panorama

229

Fig. 52: The Basement, Panorama, consoles

Fig. 53: The Basement, Panorama, console touchscreen

230

Fig. 54: The Basement, Pods

Fig. 55: The Basement, Pods

231

Fig. 56: The Arena

Fig. 57: The Arena

232

Fig. 58: The Arena

Fig. 59: The Arena, projections on the walls