Editorial (on Fezi Sound Recording System & Cystophone)

Editorial in The Cinema, sound recording equipment, sound reproduction equipment,

The editorial of The Cinema published
from Lahore called Fezi Sound Recording System , “better than many foreign Sound Recording Systems.”

B.R. Oberai

National Film Archive of India

The Cinema, June 1932, pp.11&12

1932-06

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Csystophone

Sound Reproduction Equipment

Csystophone, “invented” by Bamadas Chatterjee, a research scholar of Calcutta University, was the preeminent indigenous talkie equipment. Csystophone talkie reproduction machine was based on Chatterjee-Sono-System and was installed at Chabbighar and Rupabani theaters.

Anonymous

National Film Archive of India

Film World Weekly, May 12, 1933, Vol.1, No.5, p.5

1933-05-12

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Sharda Movietone

Talkie Studios, Talkie Distributors

An advert in the manner of a letter composed by Mayashanker Thacker & Co., the distributors of Sharda Movietone with offices in Bombay, Lahore, Calcutta, Bangalore and Mombasa. The letter brings to light the feats of Bhogilal K.M Dave of Sharda Movietone, who went to Germany to learn the technique of talkie and returned with talkie machinery and two German talkie experts. The letter ends expectantly on the continued co-operation among the distributor-exhibitors network.

Anonymous

National Film Archive of India

The Cinema, June July 1931, Vol.4, No.11&12, p.37

1931-07

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Sulochana

Advertisement of Talkies

Advertisements of film Imperial Film Co.’s Sulochana featuring Sulochana and D. Billimoria emphasized their swadeshi nature and their independence from foreign aid .

Anonymous

National Film Archive of India

The Cinema, November 1933, Vol.8, No.1, p.3

1933-11

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Talking Picture in India

Talkies, talkie studios

Wilford Deming Jr.’s write up on the situation of talkie production in India in 1932 is reproduced from ‘American Cinematographer’ in Cinema Vision India. The initial reconnaissance of the studios in India, Deming states, gave him a sense of its antedated existence compared to his own experiences in film industry. Blindest groping for fundamental facts was especially true of the laboratory processing of sound films. Mole Richardson lights proved to be of little use, due to the flat lighting practiced in Indian studios. Deming also takes note of the hindrance effected by the familial ties in the organization of studios. The relatively high humidity in Calcutta renders the microphones a lot nosier. Deming considers dynamic microphones to be a solution for year round operation in India. The microphone, Deming states, was received with complete indifference in India, and the in the films he worked on, practically no retakes were necessary due to the addition of dialogues. Barring unfortunate internal fall outs, the future of Indian talkie industry, according to Deming, looks optimistic.

Wilford Deming Jr.

Cinema Vision India

Cinema Vision India, Vol.1, No.2, April 1980, pp.19-21

1980-04

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