Leo Enticknap <[log in to unmask]> said: >This strikes me as a very similar procedure to the dubbing by Jean Barry of >Anny Ondra's voice in the sound version of 'Blackmail'. This was recorded >using RCA single-system (i.e. the optical soundtrack is exposed in the same >camera as the picture) sound on film cameras, NOT Vitaphone as has been >stated in several books and articles. Post-syncing in 'Blackmail' was >impossible because the sound cameras necessary for re-recording had not >arrived in Britain by that time. Leo's comment reminds me that several of Hitchcock's British films have been released on DVD with digitally enhanced audio tracks. I was watching the DVD of THE MAN WHO KNEW TOO MUCH (1934) recently and was stunned at how much clearer the dialogue was. The signal-to-noise ratio has been much improved. Normally, I'd advocate seeing films in their original condition, but I think this is one case where the manipulation of a film is truly an improvement. Jeremy Butler [log in to unmask] ======================================================== The second edition of TELEVISION: CRITICAL METHODS AND APPLICATIONS is now available. More info at: http://www.TVCrit.com ---- Screen-L is sponsored by the Telecommunication & Film Dept., the University of Alabama: http://www.tcf.ua.edu