Dickson Experimental Sound Film

It was on a day in 1891 when Scottish inventor William K.L. Dickson surprised his boss, Thomas Alva Edison with his remarkable work in the development of motion pictures. After many experiments, Dickson was now able to capture scenes of real life with his camera, and reproduce them through his invention, the Kinetoscope, as if a fragment of time were preserved in celluloid. Soon, Dickson's Kinetoscope would become an enormous success as a new way of entertainment, with many people eager to pay the nickel that was charged to be able to watch people dancing, or acrobats performing stunts through the "peepshow" of the Kinetoscope. However, the invention wasn't complete, in order for it to capture on film the real life as we know it, sound was needed on the movies. So Dickson kept experimenting and this short experiment, Kinetophone's first film, was the result.

In this experiment, codenamed simply as "Dickson Experimental Sound Film", director William K.L. Dickson stands in front of a recording cone for a wax cylinder (earliest method of recording sound), with his violin on hands, playing a song named "Song of the Cabin Boy". The idea was to record the song into the cylinder at the same time that the camera was recording his movements. In order to show that this was a motion picture, two of Edison's "Black Maria" laboratory decided to do a little dance in front of the camera. Unlike what author Vito Russo claimed in his book, "The Celluloid Closet", this little dance had nothing to do with homosexuality as it obviously is a reference to the environment of loneliness of the lab, akin to the lonely sailors to whom the "Song of the Cabin Boy" was dedicated to (the title Russo suggests, "The Gay Brothers", is actually anachronistic as "gay" had no homosexual connotation in the late 1890s).

Sadly, Dickson was unable to achieve the desired effect, and the Kinetophone never could really produce the synchronized audio with images. While he had the cylinder with the sound and the celluloid with the images, the synchronization of the two elements was not exactly effective, and the sudden appearance of Auguste and Louis Lumière's Cinématographe prompted Edison's team to focus on projecting systems and eventually Dickson left the company. Fortunately, in 1998 Dickson's cylinder with the movie's sound was rebuilt and film editor Walter Murch made a restoration of the experiment as it was intended. Finally, "Dickson Experimental Sound Film" could be heard with synchronized sound, just as its creative inventor had intended. While it was not a successful attempt, this outstanding film is a testament of the enormous genius of the father of Kinetoscope. 8/10

The Edison company in the US made experimental motion pictures on photographic film from 1889, and first exploited film commercially with the Kinetoscope system in 1894. The Lumières in France, however, are usually credited with launching the cinema proper a year later, as they saw the virtue in projecting films so they could be enjoyed communally. Thomas Alva Edison, in contrast, seems to have regarded moving images as a novelty to be consumed in an atomised and slightly voyeuristic way, by an individual peering through a lens. In a time when people regularly watch theatrical features on their smartphones, this mode of consumption has made a comeback.

This experimental example from Edison's famous Black Maria studio in New Jersey is particularly remarkable as it's the earliest known sound film, a full third of a century prior to The Jazz Singer. It's perhaps less surprising when you realise that Edison's main interest in film was as an enhancement of his other great cultural invention, the phonograph, which he regarded as a more enduring content medium. The film is a test run for a planned Kinetophone system in which film is combined with a soundtrack recorded on a wax cylinder, an idea that finally had its day with the Scopitone visual jukebox of the 1950s and persists in contemporary music video.

Successful synchronisation defeated Edison's engineers and their pre-electronic mechanical equipment, however, and the kinetophone was eventually launched with unsynchronised musical accompaniment. This film was never exhibited and over the years film print and cylinder became separated. In 1998 researchers realised the connection between the two and veteran Hollywood editor Walter Murch finally completed the synchronisation using digital technology.

But the film also gets into this list for its intriguing content. While director and film pioneer William K L Dickson plays a simple fiddle tune into one of the massive horns then used for audio recording, two men dance together, one of them occasionally smiling. It's therefore been claimed as the first gay film, notably by Vito Russo in his book The Celluloid Closet, and features in the documentary of the same name based on the book (Rob Epstein, Jeffrey Friedman 1995). More plausibly, it offers a window into an era where all male environments were common — in research and development as well as the naval setting that the lyrics of the song Dickson plays allude to — and where sex was so far off the agenda the obvious modern interpretation of the scene would have been unthinkable.

This is a pretty interesting experiment to watch. It's the first ever, still existing attempt, to unite sight with sound. It features two men dancing to a violin player (possibly William K.L. Dickson himself), who is standing next to an Edison recording cylinder, that is capturing the sound.

The sound and images were not linked together as one yet. And it wasn't until recently that the sound and image have been added technically together. It's probably the reason why people hesitate to call this movie the first ever sound picture.

The movie is made by William K.L. Dickson, a assistant to Thomas Edison himself who ordered him to come up with a way to unite pictures and sound. The answer he provided was the Kinetophone, a Kinetoscope (basicly a large wooden box with a peephole in it, so people could watch the moving images) with a cylinder phonograph inside of it, for the sound. This is the first, that we know off, surviving movie-experiments that feature this technique. All of the later movies using this same technique were shot as silent movies and sound effects were recorded later and separately. So the Kinephone was not an attempt to synchronize sound and images but more an attempt to have images accompanied by sound. In some cases, people could even choose from three sound cylinders, featuring 3 different orchestral performances to accompany the images. Only 45 Kinetophones were ever made so you could hardly call the Kinephone a success. Also after this experiment, focus went off to other cinema techniques, mainly regarding movie-projectors.

So the experiment itself obviously did not become a success, also since it took over 30 more years before the first movies with sound were made and commercially released. They just couldn't yet technically synchronize and put the sound and the images together yet at the time and even if they could and techniques would had been available, it would had been a very expensive job to do so. It therefor really isn't the most influential or historically important movies out of cinematic history but it's very interesting to watch, how people constantly tried to improve the quality and techniques of early cinema and movie-making.

8/10

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The broken sound "cylinder" for this 1894 film was found in the 1960's and repaired in 1998, so film enthusiasts take heart, we might be finding some lost films twenty years from now!

In 1913 Edison announced that all the problems with talking pictures had been solved - his pronouncement was somewhat premature, and the assumption that Edison was right prevented the success of a couple of European inventors that came to the U.S. seeking financial backing for systems that might have worked in the 1910's, including a sound on film system.

Synchronizing movement and sound was not too hard - although this film was not a true attempt at synchronization. It was synchronizing speech and film in a manner such that the results looked the least bit natural and were the least bit repeatable that were the sustained problems.

And about my precode comment, Joe Breen, head censor in America from 1934 to 1952, would never allow two men to dance together in a film under any circumstance. The last time that was tried in an American film prior to the production code was "Wonder Bar" in 1934, with Al Jolson looking on, rolling his eyes, and making the remark "boys will be boys!". Although, in fairness, this film was never exhibited to the public, and the two dancing men were probably workers in Dickson's lab, the female engineer being a rarity in 1894.

Some commentors note that this is of historic importance. But the point is precisely that it is not.

Film is like everything else, but moreso. It is what it is because of a process of evolution, accident, selfish urges and technology circumstance. Film affects us profoundly, indeed defines large parts of our lives. The unhappy fact is that what it makes in us is twisted by its past, how it got to us.

So our worlds have all sorts of legacies of its accidental past, just as our bodies have vestigial tails and gills. You just cannot be a person at all unless you know who you are, and part of that self-discovery is in understanding the snowball of cinema.

This isn't part of that snowball because the technology was forgotten, almost as if it never happened. Maybe if they worked late one night, if it hadn't rained, if a joke hadn't been so funny, it would have become part of the medium.

Then we would have avoided all that adventure in pantomime and shadow that forms the nervous system of our images today.

See this as a reminder of all the extinct possibilities that were pruned from what we have. Maybe it will help illuminate what wasn't pruned.

Ted's Evaluation -- 3 of 3: Worth watching.