1. STORRE
  2. Faculty of Arts and Humanities
  3. Communications, Media and Culture
  4. Communications, Media and Culture Journal Articles
Please use this identifier to cite or link to this item: http://hdl.handle.net/1893/27331
Full metadata record
DC FieldValueLanguage
dc.contributor.authorIzod, Johnen_UK
dc.date.accessioned2018-06-05T15:59:35Z-
dc.date.available2018-06-05T15:59:35Z-
dc.date.issued2018-12-31en_UK
dc.identifier.urihttp://hdl.handle.net/1893/27331-
dc.description.abstractWhen cinema owners and managers in the USA and the United Kingdom wired their theatres for sound, most of them promptly dismissed their orchestras. As a consequence of that and other economic, technical and aesthetic alterations then underway in the cinema business, a significant change occurred in relations between exhibitors and a key group of employees in the years from 1927 to 1933. These were the workers (generally known as ‘operators’) responsible for screening the films. This paper focuses on the changes that the introduction of recorded sound, together with alterations in the business and political environments, brought to operators’ workplace duties and conditions of employment in both the United States of America and the United Kingdom.en_UK
dc.language.isoenen_UK
dc.publisherLiverpool University Pressen_UK
dc.relationIzod J (2018) Empowering Cinema Operators in the USA and UK, 1927-1933. Music, Sound, and the Moving Image, 12 (2), pp. 217-240. https://doi.org/10.3828/msmi.2018.12en_UK
dc.rightsThis item has been embargoed for a period. During the embargo please use the Request a Copy feature at the foot of the Repository record to request a copy directly from the author. You can only request a copy if you wish to use this work for your own research or private study. Publisher policy allows this work to be made available in this repository. Published in Music, Sound, and the Moving Image by Liverpool University Press. The original publication is available at: https://doi.org/10.3828/msmi.2018.12en_UK
dc.titleEmpowering Cinema Operators in the USA and UK, 1927-1933en_UK
dc.typeJournal Articleen_UK
dc.rights.embargodate2021-01-01en_UK
dc.rights.embargoreason[Accepted Manuscript (2).pdf] Publisher requires embargo of 24 months after formal publication.en_UK
dc.identifier.doi10.3828/msmi.2018.12en_UK
dc.citation.jtitleMusic, Sound, and the Moving Imageen_UK
dc.citation.issn1753-0776en_UK
dc.citation.issn1753-0768en_UK
dc.citation.volume12en_UK
dc.citation.issue2en_UK
dc.citation.spage217en_UK
dc.citation.epage240en_UK
dc.citation.publicationstatusPublisheden_UK
dc.citation.peerreviewedRefereeden_UK
dc.type.statusAM - Accepted Manuscripten_UK
dc.contributor.funderArts and Humanities Research Councilen_UK
dc.author.emailk.j.izod@stir.ac.uken_UK
dc.contributor.affiliationCommunications, Media and Cultureen_UK
dc.identifier.isiWOS:000456197700007en_UK
dc.identifier.wtid916806en_UK
dc.contributor.orcid0000-0001-5124-5698en_UK
dc.date.accepted2018-05-21en_UK
dcterms.dateAccepted2018-05-21en_UK
dc.date.filedepositdate2018-06-05en_UK
dc.relation.funderprojectBritish Silent Cinema and the Transition to Sounden_UK
dc.relation.funderrefAH/L013800/1en_UK
rioxxterms.apcnot requireden_UK
rioxxterms.typeJournal Article/Reviewen_UK
rioxxterms.versionAMen_UK
local.rioxx.authorIzod, John|0000-0001-5124-5698en_UK
local.rioxx.projectAH/L013800/1|Arts and Humanities Research Council|http://dx.doi.org/10.13039/501100000267en_UK
local.rioxx.freetoreaddate2021-01-01en_UK
local.rioxx.licencehttp://www.rioxx.net/licenses/under-embargo-all-rights-reserved||2020-12-31en_UK
local.rioxx.licencehttp://www.rioxx.net/licenses/all-rights-reserved|2021-01-01|en_UK
local.rioxx.filenameAccepted Manuscript (2).pdfen_UK
local.rioxx.filecount1en_UK
local.rioxx.source1753-0768en_UK
Appears in Collections:Communications, Media and Culture Journal Articles

Files in This Item:
File Description SizeFormat 
Accepted Manuscript (2).pdfFulltext - Accepted Version452.87 kBAdobe PDFView/Open


This item is protected by original copyright

View License
Show simple item record


Items in the Repository are protected by copyright, with all rights reserved, unless otherwise indicated.

The metadata of the records in the Repository are available under the CC0 public domain dedication: No Rights Reserved https://creativecommons.org/publicdomain/zero/1.0/

If you believe that any material held in STORRE infringes copyright, please contact library@stir.ac.uk providing details and we will remove the Work from public display in STORRE and investigate your claim.