Introduction of studio system and institutionalized mode of production

The five largest producing companies in Hollywood at this point - MGM, Universal, First
National, Paramount, and Producers Distributing Corporation proceeded cautiously in relation to
sound. If firms acted individually, they might choose incompatible equipment. Since each firm's
theaters had to show other companies' films, the lack of a common standard would hurt business.
In February 1927, they signed the Big Five Agreement, pledging to act together in adopting
whichever sound system proved most advantageous. The two leading choices were the Western
Electric sound-on-disc and the RCA sound-on-film systems. By 1928, Western Electric also had
a sound-on-film technology available - and it offered more favorable contracts. The Big Five
opted for Western Electric's system.
Because many theaters had already installed phonograph-style projectors, the Hollywood firms
continued for a few years to release two different kinds of prints of most films: some with
phonograph discs, some with sound-on-film. Only Warners continued to use discs during
production. In 1931, however, it joined the rest of the industry by switching to sound-on-film.
Once the Hollywood studios decided what systems to adopt, they quickly began installing
equipment in theaters. Independent theaters often used one of the cheaper sound systems. Many
smaller theaters could not afford to buy any sound equipment at all, especially since the spread
of sound coincided with the onset of the Depression. As a result, many American films were
released in both sound and silent versions. Still, by about mid-1932, the conversion to sound was
virtually complete in the United States.
Sound changed not only the film, but also the film's presentation and its relation to the viewer. In
fact, the roots of silent film culture had to be demolished to give room to the rise of talking
pictures. In the first place, the transferral of the orchestra from the pit to the sound-track marked
the end of the cinema as a multimedia show with live performance, giving way to the cinema as
a single-medium event. Musical accompaniment by a local orchestra was made superfluous; nor
was it necessary any longer for the exhibitor to support his programmes with a live stage show.
Secondly, films no longer came to the theatre as semi-manufactured goods, but as final products.
The new technology put an end to local variations in presentation. Sound films could offer a
complete show in themselves, independent of local performers, and this show would be the same
in every theatre all over the world. Thirdly, the definition of film changed drastically when music
and sound effects, formerly a live element of the viewing context, became an integral part of the
recorded film text. As a result ofthis 'textualization' of the context, the film text as an
independent, autonomous artefact came into being. Finally, the conversion to sound did not only
change the conditions, but also the rules of film viewing.
In fact, sound ultimately stimulated internationalization, for the more films were produced as
selfcontained and final products, the more easily they could be distributed internationally as
complete commodities. Sound brought an end to local differences in exhibition, and guaranteed
uniform.
By 1931, the technique of mixing separate sound tracks after shooting had been refined. The
original music and sound effects could be combined with new voices, and methods of
synchronizing voice and lip movements had improved. Moreover, subtitles were accepted more
widely. By 1932, dubbing and subtitles enabled talkies to cross the language barrier, and they
have remained in use ever since.