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In Europe (and, to a lesser degree, elsewhere), the new development was treated with suspicion by many filmmakers and critics, who worried that a focus on dialogue would subvert the unique aesthetic virtues of soundless cinema.

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No agreement was reached, but within a year Edison commissioned the development of the Kinetoscope, essentially a "peep-show" system, as a visual complement to his cylinder phonograph.

The two devices were brought together as the Kinetophone in 1895, but individual, cabinet viewing of motion pictures was soon to be outmoded by successes in film projection.

Finally, there was the challenge of recording fidelity.

The primitive systems of the era produced sound of very low quality unless the performers were stationed directly in front of the cumbersome recording devices (acoustical horns, for the most part), imposing severe limits on the sort of films that could be created with live-recorded sound.

Three major problems persisted, leading to motion pictures and sound recording largely taking separate paths for a generation.

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