Sound film (English Wikipedia)

There is disagreement on the running time of the film. The Deutsches Filminstitut's webpage on the film Archived March 11, 2007, at the Wayback Machine gives 48 minutes; the 35 Millimeter website's entry gives 40 minutes. According to filmportal.de Archived January 9, 2010, at the Wayback Machine, it is "some 40 minutes".

academia.edu (Global: 105^th place; English: 99^th place)

Baxter, Mike, Myths and Misses, Academia.com, pp. 15–16, retrieved June 12, 2021

afm.org (Global: low place; English: low place)

"1920–1929". Our History. American Federation of Musicians. Archived from the original on June 6, 2012. Retrieved December 9, 2009. "1927 – With the release of the first 'talkie,' The Jazz Singer, orchestras in movie theaters were displaced. The AFM had its first encounter with wholesale unemployment brought about by technology. Within three years, 22,000 theater jobs for musicians who accompanied silent movies were lost, while only a few hundred jobs for musicians performing on soundtracks were created by the new technology. 1928 – While continuing to protest the loss of jobs due to the use of 'canned music' with motion pictures, the AFM set minimum wage scales for Vitaphone, Movietone and phonograph record work. Because synchronizing music with pictures for the movies was particularly difficult, the AFM was able to set high prices for this work."

amps.net (Global: low place; English: low place)

Allen, Bob (Autumn 1997). "Why The Jazz Singer?". AMPS Newsletter. Association of Motion Picture Sound. Archived from the original on October 22, 1999. Retrieved December 12, 2009. Allen, like many, exaggerates The Jazz Singer's commercial success; it was a big hit, but not "one of the big box office hits of all time".
Allen, Bob (Autumn 1995). "Let's Hear It For Sound". AMPS Newsletter. Association of Motion Picture Sound. Archived from the original on January 8, 2000. Retrieved December 13, 2009.

angelfire.com (Global: 1,478^th place; English: 1,422^nd place)

Altman (2005), p. 158. If there was a drawback to the Elgéphone, it was apparently not a lack of volume. Dan Gilmore describes its predecessor technology in his 2004 essay "What's Louder than Loud? The Auxetophone": "Was the Auxetophone loud? It was painfully loud." For a more detailed report of Auxetophone-induced discomfort, see The Auxetophone and Other Compressed-Air Gramophones Archived September 18, 2010, at the Wayback Machine.

archive.org (Global: 6^th place; English: 6^th place)

Danson, H. L. (September 1929). "The Portable Model RCA Photophone". Projection Engineering. November 1929. Bryan Davis Publishing Co., inc.: 32. Retrieved August 6, 2021 – via InternetArchive.
Friedrich, Otto (1997). City of Nets: A Portrait of Hollywood in 1940s (reprint ed.). Berkeley and Los Angeles: University of California Press. pp. 9. ISBN 0-520-20949-4.

books.google.com (Global: 3^rd place; English: 3^rd place)

MacDonald, Laurence E. (1998). The Invisible Art of Film Music: A Comprehensive History. Lanham, MD: Ardsley House. p. 5. ISBN 978-1-880157-56-5.
Crafton, Donald (1999). The Talkies: American Cinema's Transition to Sound, 1926-1931. Berkeley, CA: University of California Press. p. 65. ISBN 0-520-22128-1.

cine-studies.net (Global: low place; English: low place)

Crisp (1997), p. 103; "Epinay ville du cinéma". Epinay-sur-Seine.fr. Archived from the original on June 12, 2010. Retrieved December 8, 2009. Erickson, Hal. "Le Collier de la reine (1929)". Movies & TV Dept. The New York Times. Retrieved December 8, 2009. Chiffaut-Moliard, Philippe (2005). "Le cinéma français en 1930". Chronologie du cinéma français (1930–1939). Cine-studies. Archived from the original on March 16, 2009. Retrieved December 8, 2009. In his 2002 book Genre, Myth, and Convention in the French Cinema, 1929–1939 (Bloomington: Indiana University Press), Crisp says that Le Collier de la reine was "'merely' sonorized, not dialogued" (p. 381), but all other available detailed descriptions (including his own from 1997) mention a dialogue sequence. Crisp gives October 31 as the debut date of Les Trois masques and Cine-studies gives its release ("sortie") date as November 2. Note finally, where Crisp defines in Genre, Myth, and Convention a "feature" as being a minimum of sixty minutes long, this article follows the equally common, and Wikipedia-prevalent, standard of forty minutes or longer.

csfd.cz (Global: 594^th place; English: 5,722^nd place)

Stojanova (2006), p. 97. According to Il Cinema Ritrovato, the program for XXI Mostra Internazionale del Cinema Libero (Bologna; November 22–29, 1992), the film was shot in Paris. According to the IMDb entry on the film, it was a Czech-German coproduction. The two claims are not necessarily contradictory. According to the Czech-Slovak Film Database, it was shot as a silent film in Germany; soundtracks for Czech, German, and French versions were then recorded at the Gaumont studio in the Paris suburb of Joinville.

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Low (1997a), pp. 178, 203–5; Low (1997b), p. 183; Crafton (1997), pp. 432; "Der Rote Kreis". Deutsches Filminstitut. Archived from the original on June 24, 2011. Retrieved December 8, 2009. IMDb.com incorrectly refers to Der Rote Kreis/The Crimson Circle as a British International Pictures (BIP) coproduction (it also spells Zelnik's first name "Frederic"). The authentic BIP production Kitty is sometimes included among the candidates for "first British talkie." In fact, the film was produced and premiered as a silent for its original 1928 release. The stars later came to New York to record dialogue, with which the film was rereleased in June 1929, after much better credentialed candidates. See sources cited above.
There is disagreement on the running time of the film. The Deutsches Filminstitut's webpage on the film Archived March 11, 2007, at the Wayback Machine gives 48 minutes; the 35 Millimeter website's entry gives 40 minutes. According to filmportal.de Archived January 9, 2010, at the Wayback Machine, it is "some 40 minutes".

duke.edu (Global: 1,851^st place; English: 1,041^st place)

library.duke.edu

"Canned Music on Trial". Ad*Access. Duke University Libraries. Archived from the original on May 16, 2008. Retrieved December 9, 2009. The text of the ad continues:
Is Music Worth Saving?
No great volume of evidence is required to answer this question. Music is a well-nigh universally beloved art. From the beginning of history, men have turned to musical expression to lighten the burdens of life, to make them happier. Aborigines, lowest in the scale of savagery, chant their song to tribal gods and play upon pipes and shark-skin drums. Musical development has kept pace with good taste and ethics throughout the ages, and has influenced the gentler nature of man more powerfully perhaps than any other factor. Has it remained for the Great Age of Science to snub the Art by setting up in its place a pale and feeble shadow of itself?

elpais.com (Global: 89^th place; English: 268^th place)

EFE (November 3, 2010). "La primera película sonora era española". El País (in European Spanish). ISSN 1134-6582. Retrieved February 6, 2019.

encyclopediaofarkansas.net (Global: 3,026^th place; English: 1,626^th place)

Hall, Brenda J. (July 28, 2008). "Freeman Harrison Owens (1890–1979)". Encyclopedia of Arkansas History and Culture. Retrieved December 7, 2009.
See Freeman Harrison Owens (1890–1979), op. cit. A number of sources erroneously state that Owens's and/or the Tri-Ergon patents were essential to the creation of the Fox-Case Movietone system.

epinay-sur-seine.fr (Global: low place; English: low place)

Crisp (1997), p. 103; "Epinay ville du cinéma". Epinay-sur-Seine.fr. Archived from the original on June 12, 2010. Retrieved December 8, 2009. Erickson, Hal. "Le Collier de la reine (1929)". Movies & TV Dept. The New York Times. Retrieved December 8, 2009. Chiffaut-Moliard, Philippe (2005). "Le cinéma français en 1930". Chronologie du cinéma français (1930–1939). Cine-studies. Archived from the original on March 16, 2009. Retrieved December 8, 2009. In his 2002 book Genre, Myth, and Convention in the French Cinema, 1929–1939 (Bloomington: Indiana University Press), Crisp says that Le Collier de la reine was "'merely' sonorized, not dialogued" (p. 381), but all other available detailed descriptions (including his own from 1997) mention a dialogue sequence. Crisp gives October 31 as the debut date of Les Trois masques and Cine-studies gives its release ("sortie") date as November 2. Note finally, where Crisp defines in Genre, Myth, and Convention a "feature" as being a minimum of sixty minutes long, this article follows the equally common, and Wikipedia-prevalent, standard of forty minutes or longer.

filmportal.de (Global: 564^th place; English: 1,783^rd place)

"How the Pictures Learned to Talk: The Emergence of German Sound Film". Weimar Cinema. filmportal.de. Archived from the original on January 9, 2010. Retrieved December 7, 2009.
There is disagreement on the running time of the film. The Deutsches Filminstitut's webpage on the film Archived March 11, 2007, at the Wayback Machine gives 48 minutes; the 35 Millimeter website's entry gives 40 minutes. According to filmportal.de Archived January 9, 2010, at the Wayback Machine, it is "some 40 minutes".

filmsite.org (Global: 2,951^st place; English: 2,642^nd place)

M, for instance, is the earliest sound film to appear in the 2001 Village Voice: 100 Best Films of the 20th Century Archived March 31, 2014, at the Wayback Machine poll and the 2002 Sight and Sound Top Ten (among the 60 films receiving five or more votes). See also, e.g., Ebert (2002), pp. 274–78.

filmsound.org (Global: low place; English: low place)

Sound engineer Mark Ulano, in "The Movies Are Born a Child of the Phonograph" (part 2 of his essay "Moving Pictures That Talk"), describes the Phono-Cinéma-Théâtre version of synchronized sound cinema:
This system used an operator adjusted non-linkage form of primitive synchronization. The scenes to be shown were first filmed, and then the performers recorded their dialogue or songs on the Lioretograph (usually a Le Éclat concert cylinder format phonograph) trying to match tempo with the projected filmed performance. In showing the films, synchronization of sorts was achieved by adjusting the hand cranked film projector's speed to match the phonograph. the projectionist was equipped with a telephone through which he listened to the phonograph which was located in the orchestra pit.

filmsoundsweden.se (Global: low place; English: low place)

Sipilä, Kari (April 2004). "A Country That Innovates". Ministry for Foreign Affairs of Finland. Archived from the original on July 7, 2011. Retrieved December 8, 2009. "Eric Tigerstedt". Film Sound Sweden. Retrieved December 8, 2009. See also A. M. Pertti Kuusela, E.M.C Tigerstedt "Suomen Edison" (Insinööritieto Oy: 1981).

finland.cn (Global: low place; English: low place)

Sipilä, Kari (April 2004). "A Country That Innovates". Ministry for Foreign Affairs of Finland. Archived from the original on July 7, 2011. Retrieved December 8, 2009. "Eric Tigerstedt". Film Sound Sweden. Retrieved December 8, 2009. See also A. M. Pertti Kuusela, E.M.C Tigerstedt "Suomen Edison" (Insinööritieto Oy: 1981).

imageandnarrative.be (Global: low place; English: low place)

Ris (2004), pp. 35–36; Maliangkay, Roald H (March 2005). "Classifying Performances: The Art of Korean Film Narrators". Image & Narrative. Archived from the original on May 28, 2008. Retrieved December 9, 2009.

imdb.com (Global: 22^nd place; English: 33^rd place)

Low (1997a), pp. 178, 203–5; Low (1997b), p. 183; Crafton (1997), pp. 432; "Der Rote Kreis". Deutsches Filminstitut. Archived from the original on June 24, 2011. Retrieved December 8, 2009. IMDb.com incorrectly refers to Der Rote Kreis/The Crimson Circle as a British International Pictures (BIP) coproduction (it also spells Zelnik's first name "Frederic"). The authentic BIP production Kitty is sometimes included among the candidates for "first British talkie." In fact, the film was produced and premiered as a silent for its original 1928 release. The stars later came to New York to record dialogue, with which the film was rereleased in June 1929, after much better credentialed candidates. See sources cited above.
Stojanova (2006), p. 97. According to Il Cinema Ritrovato, the program for XXI Mostra Internazionale del Cinema Libero (Bologna; November 22–29, 1992), the film was shot in Paris. According to the IMDb entry on the film, it was a Czech-German coproduction. The two claims are not necessarily contradictory. According to the Czech-Slovak Film Database, it was shot as a silent film in Germany; soundtracks for Czech, German, and French versions were then recorded at the Gaumont studio in the Paris suburb of Joinville.

jolsonville.net (Global: low place; English: low place)

The first talkie - "The Jazz Singer", Jolsonville, Oct. 9, 2013

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Lee (2000), pp. 72–74; "What Is Korea's First Sound Film ("Talkie")?". The Truth of Korean Movies. Korean Film Archive. Archived from the original on January 13, 2010. Retrieved December 9, 2009.

midnighteye.com (Global: low place; English: 6,930^th place)

Naruse's first talking picture, Otome-gokoro sannin shimai (Three Sisters with Maiden Hearts), as well as his widely acclaimed Tsuma yo bara no yo ni (Wife! Be Like a Rose!), also a talkie, were both produced and released in 1935. Wife! Be Like a Rose! was the first Japanese feature film to receive American commercial distribution. See Russell (2008), pp. 4, 89, 91–94; Richie (2005), pp. 60–63; "Mikio Naruse—A Modern Classic". Midnight Eye. February 11, 2007. Retrieved December 12, 2009. Jacoby, Alexander (April 2003). "Mikio Naruse". Senses of Cinema. Archived from the original on January 14, 2010. Retrieved December 12, 2009. Ozu's first talking picture, which came out the following year, was Hitori musuko (The Only Son). See Richie (1977), pp. 222–24; Leahy, James (June 2004). "The Only Son (Hitori Musuko)". Senses of Cinema. Archived from the original on October 3, 2009. Retrieved December 12, 2009.
Quoted in Sharp, Jasper (March 7, 2002). "A Page of Madness (1927)". Midnight Eye. Retrieved December 7, 2009.

msn.com (Global: 188^th place; English: 215^th place)

"12 mentiras de la historia que nos tragamos sin rechistar (4)". MSN (in European Spanish). Archived from the original on February 7, 2019. Retrieved February 6, 2019.

nfsa.gov.au (Global: 9,266^th place; English: 4,707^th place)

Smith, Nathan (April 2020). "TOURING SOUND EQUIPMENT TO REGIONAL AREAS". National Film and Sound Archive of Australia. Retrieved August 6, 2021.

nla.gov.au (Global: 112^th place; English: 56^th place)

"LOCAL & GENERAL". Geraldton Guardian and Express. Vol. I, no. 170. Western Australia. August 8, 1929. p. 2. Retrieved August 6, 2021 – via National Library of Australia.
"TALKIES AT SEA". The Daily News. Vol. XLVIII, no. 16, 950. Western Australia. August 30, 1929. p. 10 (HOME FINAL EDITION). Retrieved August 6, 2021 – via National Library of Australia.

nytimes.com (Global: 7^th place; English: 7^th place)

movies2.nytimes.com

A few sources indicate that the film was released in 1923, but the two most recent authoritative histories that discuss the film—Crafton (1997), p. 66; Hijiya (1992), p. 103—both give 1924. There are claims that De Forest recorded a synchronized musical score for director Fritz Lang's Siegfried (1924) when it arrived in the United States the year after its German debut—Geduld (1975), p. 100; Crafton (1997), pp. 66, 564—which would make it the first feature film with synchronized sound throughout. There is no consensus, however, concerning when this recording took place or if the film was ever actually presented with synch-sound. For a possible occasion for such a recording, see the August 24, 1925, New York Times review of Siegfried Archived April 5, 2016, at the Wayback Machine, following its American premiere at New York City's Century Theater the night before, which describes the score's performance by a live orchestra.

nytimes.com

"Vitaphone Stirs as Talking Movie; New Device Synchronizing Sound With Action Impresses With Its Realistic Effects— Noted Musicians Heard; Provides Orchestral Accompaniment to Photoplay 'Don Juan,' With John Barrymore", by Mordaunt Hall, The New York Times, August 7, 1926 ("A marvelous device known as the vitaphone, which synchronizes sound with motion pictures, stirred a distinguished audience in Warners' Theatre to unusual enthusiasm at its initial presentation last Thursday evening.")

movies.nytimes.com

Crisp (1997), p. 103; "Epinay ville du cinéma". Epinay-sur-Seine.fr. Archived from the original on June 12, 2010. Retrieved December 8, 2009. Erickson, Hal. "Le Collier de la reine (1929)". Movies & TV Dept. The New York Times. Retrieved December 8, 2009. Chiffaut-Moliard, Philippe (2005). "Le cinéma français en 1930". Chronologie du cinéma français (1930–1939). Cine-studies. Archived from the original on March 16, 2009. Retrieved December 8, 2009. In his 2002 book Genre, Myth, and Convention in the French Cinema, 1929–1939 (Bloomington: Indiana University Press), Crisp says that Le Collier de la reine was "'merely' sonorized, not dialogued" (p. 381), but all other available detailed descriptions (including his own from 1997) mention a dialogue sequence. Crisp gives October 31 as the debut date of Les Trois masques and Cine-studies gives its release ("sortie") date as November 2. Note finally, where Crisp defines in Genre, Myth, and Convention a "feature" as being a minimum of sixty minutes long, this article follows the equally common, and Wikipedia-prevalent, standard of forty minutes or longer.

pipex.com (Global: low place; English: 9,714^th place)

aqpl43.dsl.pipex.com

Wierzbicki (2009), p. 74; "Representative Kinematograph Shows" (1907).The Auxetophone and Other Compressed-Air Gramophones Archived September 18, 2010, at the Wayback Machine explains pneumatic amplification and includes several detailed photographs of Gaumont's Elgéphone, which was apparently a slightly later and more elaborate version of the Chronomégaphone.
Altman (2005), p. 158. If there was a drawback to the Elgéphone, it was apparently not a lack of volume. Dan Gilmore describes its predecessor technology in his 2004 essay "What's Louder than Loud? The Auxetophone": "Was the Auxetophone loud? It was painfully loud." For a more detailed report of Auxetophone-induced discomfort, see The Auxetophone and Other Compressed-Air Gramophones Archived September 18, 2010, at the Wayback Machine.

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history.sandiego.edu

Schoenherr, Steven E. (March 24, 2002). "Dynamic Range". Recording Technology History. History Department at the University of San Diego. Archived from the original on September 5, 2006. Retrieved December 11, 2009.
Schoenherr, Steven E. (October 6, 1999). "Motion Picture Sound 1910–1929". Recording Technology History. History Department at the University of San Diego. Archived from the original on April 29, 2007. Retrieved December 11, 2009.
Schoenherr, Steven E. (January 9, 2000). "Sound Recording Research at Bell Labs". Recording Technology History. History Department at the University of San Diego. Archived from the original on May 22, 2007. Retrieved December 7, 2009.
Gomery (2005), pp. 42, 50. See also Motion Picture Sound 1910–1929 Archived May 13, 2008, at the Wayback Machine, perhaps the best online source for details on these developments, though here it fails to note that Fox's original deal for the Western Electric technology involved a sublicensing arrangement.

sensesofcinema.com (Global: 4,201^st place; English: 2,788^th place)

archive.sensesofcinema.com

Naruse's first talking picture, Otome-gokoro sannin shimai (Three Sisters with Maiden Hearts), as well as his widely acclaimed Tsuma yo bara no yo ni (Wife! Be Like a Rose!), also a talkie, were both produced and released in 1935. Wife! Be Like a Rose! was the first Japanese feature film to receive American commercial distribution. See Russell (2008), pp. 4, 89, 91–94; Richie (2005), pp. 60–63; "Mikio Naruse—A Modern Classic". Midnight Eye. February 11, 2007. Retrieved December 12, 2009. Jacoby, Alexander (April 2003). "Mikio Naruse". Senses of Cinema. Archived from the original on January 14, 2010. Retrieved December 12, 2009. Ozu's first talking picture, which came out the following year, was Hitori musuko (The Only Son). See Richie (1977), pp. 222–24; Leahy, James (June 2004). "The Only Son (Hitori Musuko)". Senses of Cinema. Archived from the original on October 3, 2009. Retrieved December 12, 2009.

slate.com (Global: 409^th place; English: 260^th place)

Wu, Tim (November 8, 2010). "Adolph Zukor, the Architect of Hollywood". Slate. Retrieved April 23, 2026.

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The Bell "Rubber Line" Recorder Archived January 17, 2013, at the Wayback Machine.

tcm.com (Global: 422^nd place; English: 232^nd place)

Arnold, Jeremy. "Westfront 1918". Turner Classic Movies. Retrieved December 13, 2009.

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Chapman (2003), p. 82; Fisher, David (July 22, 2009). "Chronomedia: 1929". Chronomedia. Terra Media. Retrieved December 8, 2009.

unesco.org (Global: 104^th place; English: 170^th place)

uis.unesco.org

Robertson (2001), pp. 16–17; "Analysis of the UIS International Survey on Feature Film Statistics" (PDF). UNESCO Institute for Statistics. May 5, 2009. Archived from the original (PDF) on March 31, 2019. Retrieved December 13, 2009.

web.archive.org (Global: 1^st place; English: 1^st place)

Wierzbicki (2009), p. 74; "Representative Kinematograph Shows" (1907).The Auxetophone and Other Compressed-Air Gramophones Archived September 18, 2010, at the Wayback Machine explains pneumatic amplification and includes several detailed photographs of Gaumont's Elgéphone, which was apparently a slightly later and more elaborate version of the Chronomégaphone.
Altman (2005), p. 158. If there was a drawback to the Elgéphone, it was apparently not a lack of volume. Dan Gilmore describes its predecessor technology in his 2004 essay "What's Louder than Loud? The Auxetophone": "Was the Auxetophone loud? It was painfully loud." For a more detailed report of Auxetophone-induced discomfort, see The Auxetophone and Other Compressed-Air Gramophones Archived September 18, 2010, at the Wayback Machine.
Sipilä, Kari (April 2004). "A Country That Innovates". Ministry for Foreign Affairs of Finland. Archived from the original on July 7, 2011. Retrieved December 8, 2009. "Eric Tigerstedt". Film Sound Sweden. Retrieved December 8, 2009. See also A. M. Pertti Kuusela, E.M.C Tigerstedt "Suomen Edison" (Insinööritieto Oy: 1981).
"12 mentiras de la historia que nos tragamos sin rechistar (4)". MSN (in European Spanish). Archived from the original on February 7, 2019. Retrieved February 6, 2019.
A few sources indicate that the film was released in 1923, but the two most recent authoritative histories that discuss the film—Crafton (1997), p. 66; Hijiya (1992), p. 103—both give 1924. There are claims that De Forest recorded a synchronized musical score for director Fritz Lang's Siegfried (1924) when it arrived in the United States the year after its German debut—Geduld (1975), p. 100; Crafton (1997), pp. 66, 564—which would make it the first feature film with synchronized sound throughout. There is no consensus, however, concerning when this recording took place or if the film was ever actually presented with synch-sound. For a possible occasion for such a recording, see the August 24, 1925, New York Times review of Siegfried Archived April 5, 2016, at the Wayback Machine, following its American premiere at New York City's Century Theater the night before, which describes the score's performance by a live orchestra.
Schoenherr, Steven E. (March 24, 2002). "Dynamic Range". Recording Technology History. History Department at the University of San Diego. Archived from the original on September 5, 2006. Retrieved December 11, 2009.
Schoenherr, Steven E. (October 6, 1999). "Motion Picture Sound 1910–1929". Recording Technology History. History Department at the University of San Diego. Archived from the original on April 29, 2007. Retrieved December 11, 2009.
The Bell "Rubber Line" Recorder Archived January 17, 2013, at the Wayback Machine.
Schoenherr, Steven E. (January 9, 2000). "Sound Recording Research at Bell Labs". Recording Technology History. History Department at the University of San Diego. Archived from the original on May 22, 2007. Retrieved December 7, 2009.
Gomery (2005), pp. 42, 50. See also Motion Picture Sound 1910–1929 Archived May 13, 2008, at the Wayback Machine, perhaps the best online source for details on these developments, though here it fails to note that Fox's original deal for the Western Electric technology involved a sublicensing arrangement.
Allen, Bob (Autumn 1997). "Why The Jazz Singer?". AMPS Newsletter. Association of Motion Picture Sound. Archived from the original on October 22, 1999. Retrieved December 12, 2009. Allen, like many, exaggerates The Jazz Singer's commercial success; it was a big hit, but not "one of the big box office hits of all time".
"How the Pictures Learned to Talk: The Emergence of German Sound Film". Weimar Cinema. filmportal.de. Archived from the original on January 9, 2010. Retrieved December 7, 2009.
Low (1997a), pp. 178, 203–5; Low (1997b), p. 183; Crafton (1997), pp. 432; "Der Rote Kreis". Deutsches Filminstitut. Archived from the original on June 24, 2011. Retrieved December 8, 2009. IMDb.com incorrectly refers to Der Rote Kreis/The Crimson Circle as a British International Pictures (BIP) coproduction (it also spells Zelnik's first name "Frederic"). The authentic BIP production Kitty is sometimes included among the candidates for "first British talkie." In fact, the film was produced and premiered as a silent for its original 1928 release. The stars later came to New York to record dialogue, with which the film was rereleased in June 1929, after much better credentialed candidates. See sources cited above.
Crisp (1997), p. 103; "Epinay ville du cinéma". Epinay-sur-Seine.fr. Archived from the original on June 12, 2010. Retrieved December 8, 2009. Erickson, Hal. "Le Collier de la reine (1929)". Movies & TV Dept. The New York Times. Retrieved December 8, 2009. Chiffaut-Moliard, Philippe (2005). "Le cinéma français en 1930". Chronologie du cinéma français (1930–1939). Cine-studies. Archived from the original on March 16, 2009. Retrieved December 8, 2009. In his 2002 book Genre, Myth, and Convention in the French Cinema, 1929–1939 (Bloomington: Indiana University Press), Crisp says that Le Collier de la reine was "'merely' sonorized, not dialogued" (p. 381), but all other available detailed descriptions (including his own from 1997) mention a dialogue sequence. Crisp gives October 31 as the debut date of Les Trois masques and Cine-studies gives its release ("sortie") date as November 2. Note finally, where Crisp defines in Genre, Myth, and Convention a "feature" as being a minimum of sixty minutes long, this article follows the equally common, and Wikipedia-prevalent, standard of forty minutes or longer.
Stojanova (2006), p. 97. According to Il Cinema Ritrovato, the program for XXI Mostra Internazionale del Cinema Libero (Bologna; November 22–29, 1992), the film was shot in Paris. According to the IMDb entry on the film, it was a Czech-German coproduction. The two claims are not necessarily contradictory. According to the Czech-Slovak Film Database, it was shot as a silent film in Germany; soundtracks for Czech, German, and French versions were then recorded at the Gaumont studio in the Paris suburb of Joinville.
Naruse's first talking picture, Otome-gokoro sannin shimai (Three Sisters with Maiden Hearts), as well as his widely acclaimed Tsuma yo bara no yo ni (Wife! Be Like a Rose!), also a talkie, were both produced and released in 1935. Wife! Be Like a Rose! was the first Japanese feature film to receive American commercial distribution. See Russell (2008), pp. 4, 89, 91–94; Richie (2005), pp. 60–63; "Mikio Naruse—A Modern Classic". Midnight Eye. February 11, 2007. Retrieved December 12, 2009. Jacoby, Alexander (April 2003). "Mikio Naruse". Senses of Cinema. Archived from the original on January 14, 2010. Retrieved December 12, 2009. Ozu's first talking picture, which came out the following year, was Hitori musuko (The Only Son). See Richie (1977), pp. 222–24; Leahy, James (June 2004). "The Only Son (Hitori Musuko)". Senses of Cinema. Archived from the original on October 3, 2009. Retrieved December 12, 2009.
Anandan, "Kalaimaamani". "Tamil Cinema History—The Early Days: 1916–1936". INDOlink Tamil Cinema. Archived from the original on July 11, 2000. Retrieved December 8, 2009.
Ris (2004), pp. 35–36; Maliangkay, Roald H (March 2005). "Classifying Performances: The Art of Korean Film Narrators". Image & Narrative. Archived from the original on May 28, 2008. Retrieved December 9, 2009.
Lee (2000), pp. 72–74; "What Is Korea's First Sound Film ("Talkie")?". The Truth of Korean Movies. Korean Film Archive. Archived from the original on January 13, 2010. Retrieved December 9, 2009.
Allen, Bob (Autumn 1995). "Let's Hear It For Sound". AMPS Newsletter. Association of Motion Picture Sound. Archived from the original on January 8, 2000. Retrieved December 13, 2009.
"1920–1929". Our History. American Federation of Musicians. Archived from the original on June 6, 2012. Retrieved December 9, 2009. "1927 – With the release of the first 'talkie,' The Jazz Singer, orchestras in movie theaters were displaced. The AFM had its first encounter with wholesale unemployment brought about by technology. Within three years, 22,000 theater jobs for musicians who accompanied silent movies were lost, while only a few hundred jobs for musicians performing on soundtracks were created by the new technology. 1928 – While continuing to protest the loss of jobs due to the use of 'canned music' with motion pictures, the AFM set minimum wage scales for Vitaphone, Movietone and phonograph record work. Because synchronizing music with pictures for the movies was particularly difficult, the AFM was able to set high prices for this work."
"Canned Music on Trial". Ad*Access. Duke University Libraries. Archived from the original on May 16, 2008. Retrieved December 9, 2009. The text of the ad continues:
Is Music Worth Saving?
No great volume of evidence is required to answer this question. Music is a well-nigh universally beloved art. From the beginning of history, men have turned to musical expression to lighten the burdens of life, to make them happier. Aborigines, lowest in the scale of savagery, chant their song to tribal gods and play upon pipes and shark-skin drums. Musical development has kept pace with good taste and ethics throughout the ages, and has influenced the gentler nature of man more powerfully perhaps than any other factor. Has it remained for the Great Age of Science to snub the Art by setting up in its place a pale and feeble shadow of itself?
Robertson (2001), pp. 16–17; "Analysis of the UIS International Survey on Feature Film Statistics" (PDF). UNESCO Institute for Statistics. May 5, 2009. Archived from the original (PDF) on March 31, 2019. Retrieved December 13, 2009.
M, for instance, is the earliest sound film to appear in the 2001 Village Voice: 100 Best Films of the 20th Century Archived March 31, 2014, at the Wayback Machine poll and the 2002 Sight and Sound Top Ten (among the 60 films receiving five or more votes). See also, e.g., Ebert (2002), pp. 274–78.
There is disagreement on the running time of the film. The Deutsches Filminstitut's webpage on the film Archived March 11, 2007, at the Wayback Machine gives 48 minutes; the 35 Millimeter website's entry gives 40 minutes. According to filmportal.de Archived January 9, 2010, at the Wayback Machine, it is "some 40 minutes".

worldcat.org (Global: 4^th place; English: 4^th place)

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EFE (November 3, 2010). "La primera película sonora era española". El País (in European Spanish). ISSN 1134-6582. Retrieved February 6, 2019.

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