ch-nology.Filming in the Technicolor process required greaterillumination than did black and white cinematography,leading to the creation of a new, more powerful carbonarc lamp, which was subsequently adopted for filming inblack and white. These new lights permitted cameramento decrease the aperture of existing wide-angle lenses andthus obtain a sharp, deep focus image.

By the mid-1930s, colour as a novelty had given waysomewhat to more normative patterns of colour usage.Black and white films no longer featured coloursequences, though occasional transitions from black andwhite to colour, as inThe Wizard of Oz(1939), continued tofunction as signifiers of spectacle and fantasy

ansformation in basic motion picture technology thatextended beyond the unique innovation of sound itself

When a fi lm print becomes worn, for instance, or has been poorly printed to begin with, characters’ speech may slip out of synch. Film dialogue that has been dubbed into another language is also nonsynchronous—characters’ lips move to form words that are obviously diff erent than those heard on the soundtrack.

Th e process of creating, manipulating, and playing back cinematic sound is typically long, expensive, and increasingly complex from a technical and personnel standpoint, and since the specifi c technologies involved in fi lmmaking are, here as elsewhere, less important to fi lm studies than the meanings generated by the fi nished fi lms, there is no point in an intro-ductory class to overwhelm you with technical details

group).A fusion of new techniques, to some degree tran-scending the polemics over the ‘played’ and ‘unplayed’film, is found in the development in the mid-1920s of the‘historical revolutionary epic’. Films in this category weredistinguished by non-traditional plot structure and nar-ration,

he idea of collective authorship was also important inthe 1920s. The first group to be formed (in 1919) wasKuleshov’s and included Pudovkin, Boris Barnet, V. P.Fogel, and others. Its work was based on the rejection ofthe pre-revolutionary ‘psychological drama’ and it intro-duced a new concept of acting: