Indeed they did. Have a look at the promotion for RKO’s first feature, Syncopation, which featured Fred Waring and His Pennsylvanians—then on RCA-owned Victor. If Radio Pictures was the most assiduous, all the major studios participated in the mad scramble for sonic talent in the late twenties. Even before the advent of sound, Victor pursued such tie-ins, as in Keaton’s Navigator where Wilfred Glenn’s Asleep in the Deep haunts Buster (~29 minutes in). Have a look at the end of Warners’ Baby Face, as the forerunner of Penny Serenade. The great French films sonore have similar ties to Pathe and Tobis.
On Sep 26, 2014, at 10:08 AM, Barnett, Dr. Kyle <[log in to unmask]> wrote:
> Hello, all:
> I hope you can help me with beginnings of a research project.
> I’m gathering examples of phonographs, gramophones, graphophones, etc. in early-to-mid-century U.S. cinema. Among my favorite examples: “Penny Serenade” (1941), an Irene Dunne/Cary Grant tear jerker, in which the playing of records frames the narrative remembrance of a romance.
> My question: did specific record companies have what we would now call “product placement” deals with recording companies? I would be surprised if they didn’t, particularly by the 1930s when the film, recording, and radio industries were increasingly intertwined.
> Any sources you can suggest — or other phonograph/film examples (I have a growing list) — would be greatly appreciated.
> Kyle Barnett
> Kyle S. Barnett
> Associate Professor, Media Studies
> School of Communication
> Bellarmine University
> 2001 Newburg Road
> Louisville, KY 40205
> [log in to unmask]<mailto:[log in to unmask]>