By Tom Whittaker, Sarah Wright
"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 chapters of this quantity illustrate, what's normative in a single movie won't observe in one other. The frequent practices of dubbing, postsynch sound and "playback making a song" in a few international locations, for example, supply an alternate technique of knowing the positioning of the voice within the soundtrack. via seventeen unique chapters, this quantity situates the voice in movie throughout quite a number assorted nationwide, transnational and cultural contexts, featuring readings which problem conventional readings of the voice in movie in intriguing new methods. through taking a comparative view, this quantity posits that the voice might be top understood as a cellular item, one whose trajectory follows a broader community of world flows. a number of the chapters discover the cultural changes the voice undergoes because it strikes from one to a different. In doing so, the amount addresses sound practices which were lengthy been ignored, comparable to dubbing and non-synch sound, besides the ways that sound applied sciences have formed nationally particular forms of vocal functionality. In addressing where of the voice in movie, the ebook intends to nuance present theoretical writing at the voice whereas utilising those serious insights in an international context."-- Read more...
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Extra resources for Locating the voice in film : critical approaches and global practices
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.
Locating the voice in film : critical approaches and global practices by Tom Whittaker, Sarah Wright