(Films released from August 1, 1929 through July 31, 1930 were eligible.)
Its time had come, and the Academy knew it, creating a new Oscar category for sound recording. As the technology changed and improved, subcategories would be added for sound mixing and sound editing. Individual sound technicians would be nominated, too, but at first the Academy simply gave the award to the studio sound department, and if it named names, it would be the department head, who may or may not have had anything directly to do with the film designated in the award. Controversy has rarely arisen over this award, but when it did I'll be sure to tell you.
The nominees were ...
- The Big House, Metro-Goldwyn-Mayer Studio Sound Department, Douglas Shearer, Sound Director
- The Case of Sergeant Grischa, RKO Radio Studio Sound Department, John Tribby, Sound Director
- The Love Parade, Paramount Famous Lasky Studio Sound Department, Franklin Hansen, Sound Director
- Raffles, United Artists Studio Sound Department, Oscar Lagerstrom, Sound Director
- Song of the Flame, First National Studio Sound Department, George Groves, Sound Director
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| Norma and Douglas Shearer |
The Big House. It was a good year for the Shearers: Douglas Shearer was best actress winner Norma's brother. He had followed Norma to Hollywood and found a job at MGM, which was gearing up for sound. Although he had no previous training in working with sound equipment, he picked it up quickly and became one of the film industry's most important innovators. He (or he and his department) was nominated twenty-one times and won seven Oscars, plus another seven of the Academy's scientific or technical awards.
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