Modern Times, the ‘Pre-Digital Hum‘, and the Impossibility of Silence

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dc.bibliographicCitation.firstPage54en_US
dc.bibliographicCitation.issue1en_US
dc.bibliographicCitation.lastPage79en_US
dc.bibliographicCitation.volume3en_US
dc.contributor.authorBrasch, Ilka
dc.date.accessioned2022-08-01T08:32:56Z
dc.date.available2022-08-01T08:32:56Z
dc.date.issued2014en_US
dc.description.abstractThe article considers Charlie Chaplin's 1936 feature Modern Times as highly influenced by the sound transition. Even though the film appeared when film sound had undergone narrative integration and synchronized sound had ceased to attract the spectator's attention in its own right, Modern Times frames cinematic sound as unnatural. Thereby it employs techniques and experiences from the sound transition and uses them for comic purposes. At the same time, the relations beween the film's depiction of machines, its use of sound and music, and the flow of time is constantly under negotiation. What results is a pre-digital era Hum that is constituted by an impossibility of silence in film after the sound transition, an overall mechanical hiss of the cinematic apparatus that inscribes itself into the film, and the aestheticization of rhythm and noise in the modern era.en_US
dc.identifier.doi10.25071/2369-7326.35860
dc.identifier.urihttp://resolver.sub.uni-goettingen.de/purl?fidaac-11858/2171
dc.language.isoengen_US
dc.relation.issn2369-7326en_US
dc.relation.journalPivoten_US
dc.relation.journalaltA Journal of Interdisciplinary Studies and Thoughten_US
dc.rightsL::CC BY 4.0en_US
dc.subject.ddcddc:791en_US
dc.subject.fieldamericanstudiesen_US
dc.subject.fieldfilmstudiesen_US
dc.subject.fieldhistoryen_US
dc.titleModern Times, the ‘Pre-Digital Hum‘, and the Impossibility of Silenceen_US
dc.typearticleen_US
dc.type.versionpublishedVersionen_US
dspace.entity.typePublication
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