m City Lights 1931 DIE 3 GROSCHEN-OPER G.W Blackmail 1929 DVD M M 1931Vampyr 1932
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1 SMPE SMPTE 1 aspect ratio 35mm Film Style & Technolog y: History & Analysis early sound aperture
2 m City Lights 1931 DIE 3 GROSCHEN-OPER G.W Blackmail 1929 DVD M M 1931Vampyr
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9 IMAGICA 1 Lester Cowan, Camera and Projector Apertures in relation to sound-on-film pictures, in Journal of the Society of Motion Picture Engineer, 14, No.1 (January 1930), p John Belton. Widescreen Cinema. (Cambridge, Massachusetts: Harvard University Press, 1992) 3 Barry Salt, Film Style & Technology: History & Analysis. 2nd. ed. (London: Starword, 1992), p Torkell Saetervadet, The Advanced Projection Manual. (Oslo, Brussels: Norwegian Film Institute, FIAF, 2006), pp Cowan, op. cit., pp MGM Belton, op. cit., p Loyd A. Jones, Rectangle Proportions in pictorial Compositions in Journal of the Society of Motion Picture Engineer, 14, No.1(January 1930), pp Cowan, op. cit., pp
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14 Aspect Ratio in Early Japanese Talkie Films Itakura Fumiaki Through a verification survey of the films in the National Film Center (NFC) s collection, this paper ascertains the facts concerning aspect ratio, called the early talkie frame, which existed for the period of time of the first half of the 1930s, and considers the way of authentic film screening. As a result of examining over 60 films, it became apparent that there were numerous films which have early talkie frame among Japanese cinema. For example, Madamu to Nyobo (1931), which is known to be the first Japanese talkie feature film, has an early talkie frame. In addition, Tangesazen Daiippen (1933), Ito Daisuke s first talkie, has also an early talkie frame. Furthermore, the existing films using the Mina Talkie system have all early talkie frame. In Japan, feature films which have early talkie frame were produced from the end of the 1920s to around Thereafter, from 1934 on, the standerd (academy) frame became the mainstream. However, some documentary films were produced using the early talkie frame until the first half of the 1940s. It should be noted that Eisha Gijutsu Kyokasho, (Nikkan Kogyo Shimbun, 1942), a manual for projectionists written by Kaeriyama Norimasa and published in 1942, includes a technical explanation of the early talkie frame. This indicates that even in 1942, technical information concerning the early talkie frame would have been useful to his readers, projectionists. This indirectly proves that early talkie frame works were still being shown then. 87
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