The Golden Age of Hollywood

Paper by Annie Hulett. Viewed on DVD.

The decade of the 1930’s has been classified as the “The Golden Age of Hollywood”. The era began producing black and white films and as time progressed it was defined as the golden era because this was the beginning of the transformation to color and sound picture as well as the emergence of “talkies” within the film industry. The many elements to the development of sound and color fall into the concept of mise-en-scene. Mise-en-scene is defined as the most recognizable attributes to a film production including the setting, costumes, props, and many other natural as well as artificial elements that complete the film. Throughout my paper I will validate with evidence from the musical production Footlight Parade how the development and progression of mise-en-scene including sound, camera movement, costume, and editing techniques majorly influenced the “Talkie” era. Costume is such a key part to film and especially within musicals because it adds to the dramatic affects that are occurring.

Sound has such a substantial effect on the way that the audience perceives the film because it is not what you are initially drawn to on screen; it is what is occurring in the background that keeps the film continuous. The role of sound is defined as making commentary on the images that are being shown onscreen, sets the stage for the way images are received by the audience, and it helps blend the images onscreen together. Throughout the film Footlight Parade directed by Lloyd Bacon the mise-en-scene element sound has a major influence on the way that the audience perceives the characters as the musical number unfolds. When the 1933 musical film was produced the element of mise-en-scene sound was a major advancement for this time period because this was the beginning of the “Talkies” era. The musical number I will be diving to in depth is the “Honeymoon Hotel”. The elements of sound I will explain more in depth are voice, background music, and noise. The element of voice is a major factor within this scene because this is a prime example of character narration. The characters are performing a musical dialogue. This scene is when a smitten couple is checking into the “Honeymoon Hotel”. The musical number starts by introducing the many people who run the hotel operation. I feel that the voice is prominent within this musical scene because the dialogue within the characters gives clarity to what is happening between the characters at the hotel. I feel that this musical number plays a significant role in how this era demonstrates the shift from the silent film era to “talkies” because of the narration between characters was non existent in silent films. Characters are expressing themselves using the projection of sound through dialogue. The narration within this musical performance is not only giving background and telling the story; it is creating dramatic conflict within this scene. There is constant diegetic or actual sound present within this scene as well. According to film sound online, diegetic sound is defined as “sound whose source is visible on the screen or whose source is implied to be present by the action of the film.(filmsound.com). This concept is extremely apparent within “Honeymoon Hotel” because there is constant sound caused by objects within the scene, the characters’ voices are prominent through the musical numbers, and there is constant sound stimulation coming from instruments present in the background orchestra. The constant sound create by the orchestra and narration sources create a strong sense of continuity within the musical number that keeps the number upbeat and very clear to follow.

In addition to the mise-en-scene element sound, the next characteristic that was influential in the up rise of musicals in the 1930’s was the concept of camera movement and the camera angled shots. Throughout the film Footlight Parade there was simultaneous movement of different cameras and different camera angled shots because during the musical numbers within this film the characters are performing many different exercises. This is a crucial element to the production of a film especially a musical because the camera is constantly moving in relation to what is occurring onscreen. This also is reversed because the central characters are actively moving in relation to where the camera is going as well. This element to mise-en-scene is prominent in the musical number within the film “By a Waterfall” because the way that the characters are positioned on the waterfall and in the lagoon the camera is constantly moving an following their movements. There are many different types of shots occurring within this film because the girls are moving abruptly in and out of the water and the camera is constantly following their next anticipated move. The first type of shot within this number I found to be apparent was the tilt shot. The motion of the camera during a tilt shot is shifting it to a vertical position and expanding the height which gives off an illusion that the camera is looking up or down at the movements of the characters on screen. This is apparent in this scene because the women are performing a synchronized swim routine in the water and for the entire performance to have the ability to be completely onscreen the camera shifts vertically forcing the audience to feel as if they are looking down at the swimmers. The tilt shot is also demonstrated within the scene because not only do you feel as if you are looking down at the swimmers when they are performing the synchronized water routine, the camera angle is also shifted upwards when the women are in the water giving off the illusion that the camera is lower than the level of the women forcing the audience to feel as if they are looking up at the performers. Another type of camera shot that is shown in this scene is a zoom shot. This type of shot allows the shot to alternate from a close-up telephoto shot to a much more wide angled shot. This action is very subtle to the audience, which contributes to the continuity of the film. The beginning of the musical number starts with the camera performing a zoom shot on the man as he is lying in the grass and as the scene progresses the women comes and joins him as the camera stays as a zoom shot. This close up shot of the two creates a much more intimate feel forcing the audience to feel more in touch with the relationship of the characters. “By a Waterfall” is the most fitting musical number to demonstrate the different type of camera movement and shot angles because there is also continuous distorted movement. According to Art Movements online database the use of distortion an exaggeration within the film is used for emotional effect between characters within the film. I feel that the most apparent distorted movement is the constant fast motion of the synchronized swimming routine but also the routine contains some distorted slow motion effects as well. The slow motion distorted effects shined a light on the choreographed emphasis of the synchronized routine. This element creates the dramatic emotional affect that made musicals within this era so lively and desirable. The many different camera movements and shot angles are what amplified the musical numbers throughout this film and I feel also were very beneficial to the up-rise in popularity of musicals and “talkies” in the 1930’s.

Costume is a fundamental component to film and especially within musicals because it contributes to the dramatic effects that are occurring onscreen. The next element to mise-en-scene I will be relating to the film Footlight Parade is the element of costumes on the central characters within the musical According to writers Gail Lathrop and David O. Sutton “costume can serve to enhance the narrative, or story for example suggesting social positions for the characters.” Throughout the musical number “Sitting on a Backyard Fence” the characters are in extreme costume as they are all dressed as cats. The purpose of costume in this scene is to exhibit how humans can take on animalistic characteristics and dramatize the scene by being in full costume. This appeals to the audience because behind the choreographed routine there is an underlying message that the costumes share. This is demonstrated within this musical number because there is a small child dressed in costume as a rat while the other women are dressed in costume as cats. I feel this helps the audience escape the reality and enter into the fantasy because the costumes add dramatic effect to the scene. When the characters fully emerge themselves in their character while wearing the costume it helps tell the story that is being told within the musical number. For example, during the number “Sitting on a Backyard Fence” the male and female characters in full cat costume aids in displaying the feelings the two clearly feel for each other by displaying their love through a scenario of two cats sitting together on a backyard fence at night. The costumes contribute to making the comparison between the two situations, which helps the audience to follow the progression of the characters within the musical. Costume is a very important element to mise-en-scene and the rise of musicals in the 1930’s because image is one of the first things an audience notices when viewing the musical. Costume adds such a vibrant element to the film era of musicals within the 1930’s because this was the end of a conservative time period for film. If the audience is not immediately drawn to the images of the central characters their attention will not be lasting throughout the film.

The next element of mise-en-scene that is presented in the film Footlight Parade is the concept of editing. Not only the concept of editing but the way in which the scenes are edited creating a very fluid film. The elements of editing are especially apparent in this film because this is a musical number, which is supposed to flow as smoothly as the song in which they are performing onscreen. The editing in the musical number “Shanghai Lil” was very influential in helping the audience follow the actions of the central characters. One of the main types of editing within this musical number was the concept of continuity editing. According to film studies database, the positive attributes to continuity editing are that it “builds what seems to be a seamless flow of events out of fragments, often helped by the music and sound track.” Continuity is almost always apparent within musical numbers because the central characters are portraying a message that is being delivered through song and sound. Keeping the pace constantly moving is crucial to a musical number because it keeps the audience intrigued by the progression of sound and movements. Throughout the musical number the main character is making his way through a restaurant bar in search for his “Shanghai Lil”. The camera is actively moving, which creates an automatic sense of continuity. There are also parallel or cross cutting shots within this musical number because as the camera is following the main male character, the camera will periodically return to the female characters who are gossiping over the man looking for his specific woman. That technique gives off the illusion that there are two things occurring at once. The principle of editing is essential in the production of musicals because it creates an illusion that there is simultaneous entertainment occurring, which is constant within musicals.