Locating the voice in film: critical approaches and global practices
"Where is the place of the voice in film? Where others have focused on Hollywood film, this volume aims to extend the field to other cinemas from around the world, encompassing Latin America, Asia and Africa amongst others. Traditional theoretical accounts, based on classical narrative cinema,...
Gespeichert in:
| Weitere Verfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
Oxford University Press
[2017]
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Zusammenfassung: | "Where is the place of the voice in film? Where others have focused on Hollywood film, this volume aims to extend the field to other cinemas from around the world, encompassing Latin America, Asia and Africa amongst others. Traditional theoretical accounts, based on classical narrative cinema, examine the importance of the voice in terms of a desired perfect match between visuals and sonic effects. But, as the chapters of this volume illustrate, what is normative in one film industry may not apply in another. The widespread practices of dubbing, postsynch sound and "playback singing" in some countries, for instance, provide an alternative means of understanding the location of the voice in the soundtrack. Through seventeen original chapters, this volume situates the voice in film across a range of diverse national, transnational and cultural contexts, presenting readings which challenge traditional readings of the voice in film in exciting new ways. By taking a comparative view, this volume posits that the voice may be best understood as a mobile object, one whose trajectory follows a broader network of global flows. The various chapters explore the cultural transformations the voice undergoes as it moves from one industry to another. In doing so, the volume addresses sound practices which have been long been neglected, such as dubbing and non-synch sound, as well the ways in which sound technologies have shaped nationally specific styles of vocal performance. In addressing the place of the voice in film, the book intends to nuance existing theoretical writing on the voice while applying these critical insights in a global context."-- |
| Beschreibung: | xiii, 317 Seiten Illustrationen |
| ISBN: | 9780190261122 0190261129 9780190261139 0190261137 |
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Datensatz im Suchindex
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|---|---|
| adam_text | CONTENTS
Acknowledgements ix
Contributors x
Locating the Voice in Film: An Introduction 1
Tom Whittaker and Sarah Wright
1. The Writing Voice in Cinema: A Preliminary Discussion 17
Rey Chow
2. Tito Schipa, Italian Film Sound, and Opera s Legacy on Screen 31
Jennifer Fleeger
3. The Voice of Argentina: Gender, Humour, and the National Soundscape
in the Film Comedy of Nini Marshall 47
Christine Ehrick
4. Gender, Bawdiness, and Bodily Voices: Bombay Cinema s Audiovisual
Contract and the ‘Ethnic Woman 63
Pavitra Sundar
5. Double Doublage: Vocal Performance in the French-Dubbed Versions of
Pixar s Toy Story and Cars 83
Colleen Montgomery
6. Anime s Star Voices: Voice Actor (Seiyu) Performance and Stardom
in Japan 101
Rayna Denison
7. Woody s Spanish ‘Double : Vocal Performance, Ventriloquism, and the
Sound of Dubbing 119
Tom Whittaker
8. Mad Max, Accented English, and Same-Language Dubbing 137
Tessa Dwyer
9. Anna Magnani: Voice, Body, Accent 157
Catherine O’Rawe
10. Carmen Miranda s Voice in Hollywood 173
Lisa Shaw
11. Feeling the Voice: Embodied Aural Encounters in Under the Bombs
(Philippe Aractingi, 2007) 191
Ness a Johnston
12. Vocal Spaces and Oral Traces: Voice, Orality, and Ousmane Sembene’s
Early Postcolonial Critique 209
Alexander Fisher
13. Crude Extractions: The Voice in Iranian Cinema 227
Negar Mottadeheh
14. Spectral Voices and Resonant Bodies in Fernando Guzzonis Dogftesh
(Came de perro, 2012) 243
Sarah Wright
15. Snowpiercer: Sound Designable Voices and the South Korean
Global Film 263
Nikki J. Y Lee and Julian Stringer
16. Performing Through Space: Overflow, Displacement, and the Voice in
Keep Your Right Up: A Place on Earth (Jean-Luc Godard, 1987) 279
Albertine Fox
17. A Dark and Shiny Place: The Disembodied Female Voice,
Irigarayan Subjectivity, and the Political Erotics of Hearing
Her (Spike Jonze, 2013) 295
Davina Quinlivan
Index 311
[viii]
CoMfrnis
WHERE IS THE PLACE OF THE VOICE IN FILM?
While previous studies on the voice have tended to focus on Hollywood film, this
book aims to extend the field to other cinemas from around the world, encompassing
Latin America, Asia, and Africa, amongst others. By taking a comparative view, it
posits that the voice can be understood as a mobile object, one whose trajectory
follows a broad network of global flows. Exploring the cultural transformations the
voice undergoes as it moves from one industry to another, the authors address
sound practices which have been long been neglected, as well the ways in which
sound technologies have shaped nationally specific styles of vocal performance.
TOM WHITTAKER is Senior Lecturer in Film and Spanish Cultural Studies at the
University of Liverpool. He is the author of Films of Elias Querejeta: A Producer
of Landscapes and co-editor of Performance and Spanish Film.
SARAH WRIGHT is Reader in Hispanic Studies at Royal Holloway, University of
London. She is the author of The Trickster-Function in the Theatre of Garcia Lorca,
Tales of Seduction: The Figure of Don Juan in Spanish Culture, and The Child in
Spanish Cinema.
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