263:, where he stayed for the next 25 years. Early television post-production emphasized speed and efficiency over artistic innovation, and Stewart's daily routine involved mixing two half-hour shows a day, five or six times the pace he had previously kept during the making of A-level films. Among the dozens of programs he worked on were
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system for optical film sound. When corporate interest in the project waned, he was able to move to RKO's production arm as a 'boom man', recording production sound (the "live sound" recorded at the same time as the picture). For the next several years, he participated in the making of some of
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in New York City. Film sound recording and reproduction was a new medium at that time, and
Stewart's knowledge of radio made him a significant figure in the integration of sound into motion pictures. His employers sent him to the West Coast in 1929 to supervise theater installations.
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Stewart was interviewed numerous times about his methods and his working relationship with the film directors and composers with whom he collaborated. Stewart's comments and recollections are included in the following books and films:
211:(1942). Both Welles and Stewart had tremendous insight into the creative use of narrative sound, and these films demonstrated the spectacular heights to which the cinematic arts can be taken.
127:. His career spanned more than five decades (1928–1980), during which he made substantial contributions to the evolution of the art and science of film and television sound.
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As a teenager, Stewart was involved in early experiments in commercial AM broadcast radio. While at RKO Studios, he participated in the production of the first three-strip
535:“Application of Non linear Volume Characteristics to Dialog Recording” (Journal of the Society of Motion Picture Engineers, September 1938) Written with John O. Aalberg.
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518:' technology. Working primarily in television after 1950, Stewart helped usher in such technical advances as reversal ("rock and roll") re-recording.
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506:. During his tenure at RKO, he also helped design the studio's first mixing console specifically built for film re-recording and to introduce
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195:. The most celebrated aspect of Stewart's work during this period is his collaboration with director
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Stewart worked on over 250 films during his fifty years as a re-recording mixer. Among these were
318:(1978). In 1980, after a career of more than five decades in film and television, Stewart retired.
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In 1928, James G. Stewart was one of the first employees of the newly established company
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by Robert
Carringer, (1985). University of California Press: Berkeley and Los Angeles,
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was beginning to challenge the film industry for audiences, Stewart worked for
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and oversaw every aspect of production and post-production for such films as
187:. From 1933 to 1945, Stewart was Chief Re-recording Mixer at RKO, personally
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James G. Stewart adjusting a microphone on a RKO sound stage (early 1930s)
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in the late 1940s, Stewart devised an early incarnation of multichannel '
538:“The Rerecording Process” (Audio Engineering Society Reprints, May 1970)
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by Steven C. Smith. Published by
University of California Press, 2002,
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By the mid-1970s, Stewart had changed employer once more, this time to
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The Medium and the
Magician: Orson Welles, the Radio Years, 1934–1952
541:“Development of Sound Technique” (The American Film Institute, 1977)
199:, also with a background in radio. He worked closely with Welles on
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Weaver, John
Michael. “James G. Stewart: Post-Production Pioneer,”
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35:
James G. Stewart (left) on the RKO Re-recording Stage (circa 1937)
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Weaver, John
Michael. “James G. Stewart: Post-Production Pioneer”
604:
A Heart at Fire's Center: The Life and Music of
Bernard Herrmann
565:
Weaver, John
Michael. “Studying the Art of Soundtrack Design,”
218:. He was eventually appointed Head of Technical Operations for
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123:) was an American pioneer in the field of sound recording and
155:), working in their research and development department on a
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by Paul Heyer, Published by Rowman & Littlefield, 2005,
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Academy of Motion
Picture Arts and Sciences Awards Database
562:, University of California Press: Berkeley and Los Angeles
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Stewart left RKO Studios in 1945, when he was hired by
726:"The 17th Academy Awards (1945) Nominees and Winners"
702:"The 16th Academy Awards (1944) Nominees and Winners"
678:"The 15th Academy Awards (1943) Nominees and Winners"
638:(1992) Directed by Joshua Waletzky. ASIN: B000TJ0SB8
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Hollywood's earliest sound film classics, including
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476:Academy Award Winner (Special Effects category):
183:process for several years, Stewart switched to
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103:Pioneer in the field of sound recording and
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630:Hollywood The Golden Years: The RKO Story
510:into film post-production. For the film
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636:Music for the Movies: Bernard Herrmann
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548:, Evan Cameron, ed., Redgrave, 1980)
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811:20th-century American engineers
522:Technical and historical papers
220:Selznick International Pictures
502:(1935), made by RKO affiliate
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806:Engineers from Pennsylvania
581:Further reading and viewing
401:The Curse of the Cat People
383:The Hunchback of Notre Dame
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591:The Making of Citizen Kane
560:The Making of Citizen Kane
558:Carringer, Robert (1985).
119:– March 22, 1997 in
208:The Magnificent Ambersons
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786:American audio engineers
353:The Last Days of Pompeii
147:In 1930, Stewart joined
389:Abe Lincoln in Illinois
121:Los Angeles, California
73:Los Angeles, California
16:American audio engineer
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508:electronic compression
454:The Navy Comes Through
436:Nominations and awards
284:The Andy Griffith Show
117:Homewood, Pennsylvania
55:Homewood, Pennsylvania
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395:Swiss Family Robinson
175:After working in the
163:A Bill of Divorcement
141:Radio City Music Hall
546:Sound and the Cinema
113:James Graham Stewart
23:James Graham Stewart
322:Partial filmography
292:The Burbank Studios
272:The Jack Benny Show
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512:Portrait of Jennie
482:Portrait of Jennie
429:Johnny Got His Gun
424:Portrait of Jennie
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67:(1997-03-22)
51:May 21, 1907
801:1997 deaths
796:1907 births
499:Becky Sharp
494:Technicolor
488:Innovations
447:category):
426:(1948) and
315:Blue Collar
308:(1976) and
300:Martin Ritt
266:I Love Lucy
242:(1947) and
205:(1941) and
193:soundtracks
166:(1932) and
80:Nationality
780:Categories
735:2013-06-23
730:oscars.org
711:2013-06-22
706:oscars.org
687:2013-06-22
682:oscars.org
643:References
462:Bombardier
413:Spellbound
359:Swing Time
294:(owned by
224:King Vidor
181:filmmaking
177:production
90:Occupation
47:1907-05-21
377:Gunga Din
305:The Front
432:(1971).
422:(1946),
416:(1945),
410:(1944),
404:(1944),
398:(1940),
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374:(1938),
368:(1938),
362:(1936),
356:(1935),
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332:(1933),
252:(1948).
232:(1946),
172:(1934).
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189:mixing
131:Career
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771:IMDb
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62:Died
41:Born
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