Fiona Ford
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780199797615
- eISBN:
- 9780199979738
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199797615.003.0016
- Subject:
- Music, Popular, History, Western
In August 1929, British Talking Pictures released a part-talking feature called The Crimson Circle. This early British sound feature was a re-working of the German silent film Der rote Kreis ...
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In August 1929, British Talking Pictures released a part-talking feature called The Crimson Circle. This early British sound feature was a re-working of the German silent film Der rote Kreis (directed by Friedrich Zelnik in 1928). Recorded using a sound-on-disc process, the rejuvenated Crimson Circle had dialogue sections (directed by Sinclair Hill) interspersed within a synchronised soundtrack of music and sound effects devised by the Austrian composer Edmund Meisel, notorious for his propulsive accompaniment to the German release of Battleship Potemkin (Sergei Eisenstein, 1926). Neither the print nor the discs from The Crimson Circle are known to survive, but aspects of the lost soundtrack can be glimpsed from surviving documentary evidence and by comparison with Meisel’s extant film scores and soundtracks.Less
In August 1929, British Talking Pictures released a part-talking feature called The Crimson Circle. This early British sound feature was a re-working of the German silent film Der rote Kreis (directed by Friedrich Zelnik in 1928). Recorded using a sound-on-disc process, the rejuvenated Crimson Circle had dialogue sections (directed by Sinclair Hill) interspersed within a synchronised soundtrack of music and sound effects devised by the Austrian composer Edmund Meisel, notorious for his propulsive accompaniment to the German release of Battleship Potemkin (Sergei Eisenstein, 1926). Neither the print nor the discs from The Crimson Circle are known to survive, but aspects of the lost soundtrack can be glimpsed from surviving documentary evidence and by comparison with Meisel’s extant film scores and soundtracks.
John Hughson
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780719096150
- eISBN:
- 9781526115331
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719096150.003.0009
- Subject:
- Sociology, Sport and Leisure
Chapter 9 addresses the theme of commemoration, in particular the significance of anniversary occasions. This is especially of interest given that the book is published in the 50th year on from the ...
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Chapter 9 addresses the theme of commemoration, in particular the significance of anniversary occasions. This is especially of interest given that the book is published in the 50th year on from the 1966 World Cup. The chapter argues against England’s victory in the Final being used an index of future possibility in international football and, conversely, as a marker of failure. Instead, the case for the holding of the tournament, and the win by England, is reiterated as being a moment in modernity. This is not to suggest a freezing in time, but a belief in the importance of understanding episodes within their own present. The relevance of this understanding for commemoration in public contexts, such as museum exhibitions, is discussed in this concluding chapter.Less
Chapter 9 addresses the theme of commemoration, in particular the significance of anniversary occasions. This is especially of interest given that the book is published in the 50th year on from the 1966 World Cup. The chapter argues against England’s victory in the Final being used an index of future possibility in international football and, conversely, as a marker of failure. Instead, the case for the holding of the tournament, and the win by England, is reiterated as being a moment in modernity. This is not to suggest a freezing in time, but a belief in the importance of understanding episodes within their own present. The relevance of this understanding for commemoration in public contexts, such as museum exhibitions, is discussed in this concluding chapter.
