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On February 27, 1888, a couple of days after photographic pioneer Eadweard Muybridge gave a lecture not far from the laboratory of Thomas Edison, the two inventors privately met.

Muybridge later claimed that on this occasion, six years before the first commercial motion picture exhibition, he proposed a scheme for sound cinema that would combine his image-casting zoopraxiscope with Edison's recorded-sound technology.

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Cinematic innovators attempted to cope with the fundamental synchronization problem in a variety of ways.

An increasing number of motion picture systems relied on gramophone records—known as sound-on-disc technology; the records themselves were often referred to as "Berliner discs", after one of the primary inventors in the field, German-American Emile Berliner.

The primary steps in the commercialization of sound cinema were taken in the mid- to late 1920s.

At first, the sound films which included synchronized dialogue, known as "talking pictures", or "talkies", were exclusively shorts.

A major hit, it was made with Vitaphone, which was at the time the leading brand of sound-on-disc technology.

Sound-on-film, however, would soon become the standard for talking pictures.

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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