Let there be...sound. Sighs and cheers erupted from the class as the no longer taken for granted medium of sound was finally reintroduced into cinema, after taunting us with "Irony of fate" and then quickly snatching it away again with the silent films. However, the development of sound in cinema was a massive achievement on the part of cine-technology, adding a completely new dimension to the films being viewed, and even how they were viewed, in the sense of what the audience member was actively participating in, as well as what the inclusion of extra senses did for the film viewing experience. Unfortunately for movies such as “The Man with the Movie camera” it seems that with the inclusion of the ability of film makers to make constant, inter title free dialogue a reality, as well as adding appropriate sound effects to things happening on the screen, focus would then shift from the artsy, experimental film, to a more narrative oriented film, as that is still the case today.
When it comes to the doctrine of Social Realism, a doctrine that stated all material related to the arts must pertain to the Soviet Ideals, we can see such an example in our first film with sound. The name of the game is glorification. It is about telling grand stories of heroes past, while inspiring those viewing the film to reach and hold these ideals, regardless of what they may be. We see more and more of this as a sort of tactic by Stalin to pacify the masses into believing in a Realism that never really existed.
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