The change was remarkably swift. By the end of 1929, Hollywood was almost all-talkie, with several competing sound systems (soon to be standardized). Total changeover was slightly slower in the rest of the world, principally for economic reasons. Cultural reasons were also a factor in countries like China and Japan, where silents co-existed successfully with sound well into the 1930s, indeed producing what would be some of the most revered classics in those countries, like Wu Yonggang's The Goddess(China, 1934) and Yasujiro Ozu's Was Born, But... (Japan, 1932). But even in Japan, a figure such as the benshi, the live narrator who was a major part of Japanese silent cinema, found his acting career was ending.
Sound further tightened the grip of major studios in numerous countries: the vast expense of the transition overwhelmed smaller competitors, while the novelty of sound lured vastly larger audiences for those producers that remained. In the case of the U.S., some historians credit sound with saving the Hollywood studio system in the face of theGreat Depression (Parkinson, 1995). Thus began what is now often called "The Golden Age of Hollywood", which refers roughly to the period beginning with the introduction of sound until the late 1940s. The American cinema reached its peak of efficiently manufactured glamour and global appeal during this period. The top actors of the era are now thought of as the classic movie stars, such as Clark Gable, Katharine Hepburn, Humphrey Bogart, Greta Garbo, and the greatest box office draw of the 1930s, child performer Shirley Temple.
