It’s quite sure nowadays that sound as an important element in film production has si gnificant art function. However, in late 19 20’ it’s controversial that if it’s progres sive or retrogressive that sound appears in the films. Germany film theorist Rudolf Ar nheim’s point of view elaborated in Movie a s Art is representative during that time. T he article is trying to analyze Arnheim’s o pinions of sound art and prove that sound as a necessary component of film art indeed ex pands the representative bound of film art.
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