By Tom Whittaker, Sarah Wright

ISBN-10: 0190261129

ISBN-13: 9780190261122

ISBN-10: 0190261137

ISBN-13: 9780190261139

"Where is where of the voice in movie? the place others have serious about Hollywood movie, this quantity goals to increase the sphere to different cinemas from world wide, encompassing Latin the USA, Asia and Africa among others. conventional theoretical bills, according to classical narrative cinema, study the significance of the voice by way of a wanted excellent fit among visuals and sonic results. yet, as the Read more...


This e-book locates the voice in cinema in numerous nationwide and transnational contexts, to discover how the severe techniques to the voice in addition to the practices of sound layout, applied sciences and Read more...

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Extra resources for Locating the voice in film : critical approaches and global practices

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Dolar’s description of what he calls the drama of the voice in the infant’s first scream may be borrowed here for clarification: The drama of the voice is twofold … : it is not only that the other is compelled to interpret [the] infant’s wishes and demands, it is also that the voice itself … is already an attempt at interpretation: the other can respond to the appeal or not, its answer depends on its whim, and the voice is something which tries to reach the other, provoke it, seduce it, plead with it; it makes assumptions about the other’s desire, it tries to influence it, sway it, elicit its love.

I think that it is very important to realize that sound can relate to the imaginary; we can perhaps consider more complexly the concept of the imaginary once we get away from fixation of the imaginary purely on the visible’ (Peter Wollen, in The Cinematic Apparatus, eds. Teresa de Lauretis and Stephen Heath [London: MacMillan, 1980], 60). Wollen’s remarks were part of the discussions recorded at a conference on the Cinematic Apparatus in 1978. For a discussion of how gender-​specific ideologies (and imaginaries) of the voice often played an overdetermining role in the invention and use of sound reproduction techniques such as the phonograph, see Amy Lawrence, Echo and Narcissus: Women’s Voices in Classical Narrative Cinema (Berkeley: University of California Press, 1991), 1–​7, 9–​32.

OPERA AND THE ITALIAN SCREEN Opera was not limited to films starring opera singers, but permeated the Italian cinema soundtrack at the beginning of the 1930s not just for what it could provide musically, but also for its connection to the plot. 5 A singer born in southern Italy who had lived in the United States, was liked by Mussolini, and adored the cinema,6 Schipa was positioned to lend both cultural significance and star power to the Italian cinema during this period of transformation. The postsynchronization of Italian cinema, which accompanied the conversion to sound, persisted long after it had been introduced as the easiest method for combining Italian speech with images created abroad.

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Locating the voice in film : critical approaches and global practices by Tom Whittaker, Sarah Wright

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