Figures
Fig. 1: Lee De Forest’s Audion advertisement (1929)
205
Fig. 2: Django Unchained soundtrack, Tarantino’s liner notes
Fig. 3: A model of the Mystic Writing Pad (UK, 1950s)
206
Fig. 4: Edison’s Kinetophone (1895)
Fig. 5: The Biophon projection device [Deutsches Museum, Munich]
207
Fig. 6 and 7: Tonbilder film image carrier (35 mm film)
Fig. 8 and 9: Tonbilder film sound carrier: Biophon shellac disc
[Pavillon-Duett, 1907, private collection Stephan Puille Berlin;
Rauschlied aus “Künstlerblut”, 1910, Österreichische Mediathek Wien]
208
Fig. 10: Patent drawing for the Biophon system (Oskar Messter, 1903):
Projector (a), screen (b), gramophone (c), motors (d, e), coil system (f), brushes (g),
voltage sources (h).
Fig. 11: The Biophon gramophone, 1910
209
Fig. 12: Tonbilder film shooting: “Pre-synchronic” image-sound recording,
Messter-Studio Berlin, 1910
Fig. 13: Starting mark in a Tonbilder film
210
Fig. 14: Starting mark in a Tonbilder
shellac disc [Private collection Stephan
Puille]
Fig. 15: A Biophon-Theater Program
211
Fig. 16: List of the reconstructed Tonbilder films
Film
Title
Production, Year
1
Am Elterngrab
Internationale
Kinematograph- und
Lichtbildgesellschaft,
1907
2
Schutzmannlied
(from
“Donnerwetter
- tadellos”)
Liebes Männchen
folge mir
(from
“Zigeunerliebe”)
Deutsche Mutoskopund Biograph GmbH,
1908
4
Militärische
Disziplin
5
Babylied
3
Credits
Film Material
Archive Nr.
35 mm nitrate,
dupe negative of
the Thirties
SDK 02126N
Actor: Henry
Bender
16 mm acetate
reversal copy
SDK 03951K
Duskes
Kinematographen
und
Film-Fabriken
GmbH,
1910,
director: Albert
Kutzner
16 mm acetate
reversal copy
SDK 03670K
Deutsche Bioscop
GmbH
Berlin,
1910
Messter‘s Projektion
GmbH,
1904
Operator: Guido
Seeber
35 mm nitrate
positiv
SDK 00097N
35 mm nitrate
positive, handpainted
SDK 01490N
Fig. 17: List of the Tonbilder shellac discs
Shellac Disc Title
Production, Year
Interpreters
1
Am Elterngrab
Gramophone 242799
Berlin, April 1904
2
Schutzmannlied
(from the 1905
theatre revue
of the MetropolTheater
“Donnerwetter,
tadellos!”)
Zonophone X-22892
Berlin, August 1908
3
Liebes Männchen,
folge mir
(from “Der
Zigeunerbaron”)
Jumbo A 97132
Wien, Frühjahr 1910
Karl Ottemar
(Tenor)
Grammophone
Orchestra, cond.
Bruno
Seidler-Winker
Schutzmann
Knautschke:
Henry Bender
(actor in the
film as well)
GramophoneOrchestra,
cond. Bruno
Seidler-Winker
Jolan: Mizzi
Jezel
Kajétan: Karl
Schöpfer
4
Lustiges auf dem
Kasernenhof
(sound for
Militärische
Disziplin)
Messter‘s / M.P.510
Berlin, August/
September 1903
212
Gustav
Schönwald
Author,
Composer
Emil WinterTymian
op. 202
Matrix
Paul Lince,
Julius Freund
13613-u
Franz Léhar,
Alfred M.
Willner,
Robert Bodanzky
Vo 858
Gustav
Schönwald
1791 x
2093 1/2 h
Fig. 18: Comparison between image and sound timeline in Avid DS
Fig. 19: The presentation of the Tonbilder films at the Il Cinema Ritrovato festival,
Bologna 2012.
213
Fig. 20: Phono-Cinéma-Théâtre film image carrier (35 mm film with 3 central
perforations)
Fig. 21 and 22: Phono-Cinéma-Théâtre films sound carrier (phonographic cylinders)
214
Fig. 23: The Phono-Cinéma-Théâtre poster by François Flameng
215
Fig. 24: The Chronophone system (Gaumont)
Fig. 25: Chronophone film image and sound carriers, details
(35 mm film with starting mark, gramophone disc)
216
Fig. 26 and 27: Filmparlant shooting: image and sound synchronous recording
Fig. 28 and 29: Vitaphone film image and sound carriers
(35 mm film, sixteen-inch electrical disc)
217
Fig. 30: Vitaphone engineer George Groves at a 1925 electrical disc-cutting lathe for
sound movies [The Granger Collection, NYC]
Fig. 31: Craft demonstrating the Vitaphone system
[Collection AT&T Archives, Warren, New Jersey]
218
Fig. 32: ERPI projector device for sound-on-disc films [The Granger Collection, NYC]
Fig. 33: The Vitaphone dispositif, advertisement by Electrical Research Products Inc.
printed in 1929 in The New Yorker and Saturday Evening Post
[Collection AT&T Archives, Warren, New Jersey]
219
Fig. 34: Nederlands Filmmuseum venue in Vondelparkpavilijoen
Fig. 35: The new building of the Eye Film Institute Netherlands
220
Fig. 36: Opening of the new building of the Eye Film Institute Netherlands
Fig. 37: Cinema 1
221
Fig. 38: Cinema 1, built-in historic organ near the cinema screen
Fig. 39: The presentation of The Spanish Dancer
with live musical accompaniment
222
Fig. 40: Cinema 2 with the grandstand seating retracted
on occasion of the installation and performance of the Circo Togni Home Movies
Fig. 41: Cinema 2 during the performance of the Circo Togni Home Movies
223
Fig. 42: Peter Kubelka’s Invisible Cinema
Fig. 43: The Exhibition Space
224
Fig. 44: The Exhibition Space, Found Footage: Cinema Exposed exhibition
Fig. 45: The Exhibition Space, set up for the Expanded Cinema: Isaac Julien, Fiona
Tan, Yang Fudong exhibition
225
Fig. 46: The Exhibition Space, set up for the Oskar Fishinger – Experiments in
Cinematic Abstraction 1900-1967 exhibition
Fig. 47: The Exhibition Space, set up for the Oskar Fishinger – Experiments in
Cinematic Abstraction 1900-1967 exhibition
226
Fig. 48: The Exhibition Space, set up for the Oskar Fishinger – Experiments in
Cinematic Abstraction 1900-1967 exhibition
Fig. 49: The Basement, Panorama
227
Fig. 50: The Basement, Panorama
Fig. 51: The Basement, Panorama
228
Fig. 52: The Basement, Panorama, consoles
Fig. 53: The Basement, Panorama, console touchscreen
229
Fig. 54: The Basement, Pods
Fig. 55: The Basement, Pods
230
Fig. 56: The Arena
Fig. 57: The Arena
231
Fig. 58: The Arena
Fig. 59: The Arena, projections on the walls
232