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The Decline of Sentiment seeks to characterize the radical shifts in taste that transformed American film in the jazz age. Based upon extensive reading of trade papers and the popular press of the day, Lea Jacobs documents the films and film genres that were considered old-fashioned, as well as those dubbed innovative and up-to-date, and looks closely at the works of filmmakers such as Erich von Stroheim, Charlie Chaplin, Ernst Lubitsch, and Monta Bell, among many others. Her analysis—focusing on the influence of literary naturalism on the cinema, the emergence of sophisticated comedy, and the progressive alteration of the male adventure story and the seduction plot—is a comprehensive account of the modernization of classical Hollywood film style and narrative form.

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The seemingly effortless integration of sound, movement, and editing in films of the late 1930s stands in vivid contrast to the awkwardness of the first talkies. <I>Film Rhythm after Sound</I> analyzes this evolution via close examination of important prototypes of early sound filmmaking, as well as contemporary discussions of rhythm, tempo, and pacing. Jacobs looks at the rhythmic dimensions of performance and sound in a diverse set of case studies: the Eisenstein-Prokofiev collaboration<I> Ivan the Terrible,</I> Disney’s <I>Silly Symphonies</I> and early Mickey Mouse cartoons, musicals by Lubitsch and Mamoulian, and the impeccably timed dialogue in Hawks’s films. Jacobs argues that the new range of sound technologies made possible a much tighter synchronization of music, speech, and movement than had been the norm with the live accompaniment of silent films. Filmmakers in the early years of the transition to sound experimented with different technical means of achieving synchronization and employed a variety of formal strategies for creating rhythmically unified scenes and sequences. Music often served as a blueprint for rhythm and pacing, as was the case in mickey mousing, the close integration of music and movement in animation. However, by the mid-1930s, filmmakers had also gained enough control over dialogue recording and editing to utilize dialogue to pace scenes independently of the music track. Jacobs’s highly original study of early sound-film practices provides significant new contributions to the fields of film music and sound studies.

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