![]() The vast range of 16mm films produced and circulated by professionals and non-professionals for countless different uses and audiences constitutes a remarkable and largely untapped historical resource, a rich and often surprising moving image record covering more than fifty years of the twentieth century.Ī Century of 16mm aims to be a wide-ranging, inclusive event, including keynote presentations, workshops, panels, and screenings of archival and newly commissioned films, as well as an exhibit of 16mm technology. 16mm was likewise widely adopted as a means of documenting social ills, capturing local news events, recording scientific experiments, circulating sexually explicit content, and enlivening the teaching of virtually every subject in primary schools and colleges alike. ![]() This flexible, durable, and efficient way of delivery all manner of audio-visual content proved to be an eminently useful, multi-purpose technology, regularly deployed as an instructional or merchandising tool for delivering public service messages and public relations campaigns, boosting church attendance, preaching good “social hygiene,” promoting political candidates, spreading propaganda, and encouraging community dialogue. Typically designed to be portable and easy-to-operate, 16mm projectors immeasurably expanded the reach of cinema to a host of occasions and sites, including–but well beyond–classrooms, churches, museums and more. 16mm cameras opened vast new possibilities for amateur filmmakers, political activists, academic researchers, and experimental artists, for local entrepreneurs, government officials, public relation firms, advertisers, and major corporations. Hadley’s example prompts us to reconsider the parameters through which we distinguish experimental and conservative musical practices, reconfiguring the definitions to include not just musical proclivities but also the contexts and modes through which they circulate.Conference at Indiana University, BloomingtonĪs the capstone to a year-long series of academic events, traveling film programs, exhibits, digitization initiatives, and publications marking the 100-year anniversary of the introduction of 16mm in 1923, the Indiana University Libraries Moving Image Archive and the Media School at Indiana University will host a conference at IU Bloomington on September 13-16, 2023.ġ6mm had achieved an extraordinary level of success by the immediate post-World War II years. I argue that Hadley’s high-art associations conferred legitimacy upon the new technology, and in his involvement with Vitaphone he aimed to establish sound film composition as a viable outlet for serious composers. Drawing on archival evidence, I examine Hadley’s approach to film composition for the 1927 film When a Man Loves. and their new sound synchronization technology, Vitaphone, in 1926–27. This essay explores Hadley’s work conducting and composing film music during the transition from silent to synchronized sound film, specifically his involvement with Warner Bros. In one respect, however, Hadley was part of the cutting edge of musical production: that of musical dissemination through new media. ![]() His compositional style remained firmly rooted in late-Romantic European idioms and although Hadley advocated for American composition through programming choices as a conductor, he mostly ignored the music of younger, adventurous composers. ![]() ![]() Composer-conductor Henry Kimball Hadley (1871–1937) is widely viewed as a conservative musical figure, one who resisted radical changes as American musical modernism began to flourish. ![]()
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