Search Results for "the-voice-in-cinema"

The Voice in Cinema

The Voice in Cinema

  • Author: Michel Chion
  • Publisher: Columbia University Press
  • ISBN: 9780231108232
  • Category: Performing Arts
  • Page: 183
  • View: 8894
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Chion analyzes imaginative uses of the human voice by directors like Lang, Hitchcock, Ophuls, Duras, and de Palma.

Locating the Voice in Film

Locating the Voice in Film

Critical Approaches and Global Practices

  • Author: Lecturer in Film and Hispanic Studies Tom Whittaker,Sarah Wright,Reader in Hispanic Studies Sarah Wright
  • Publisher: Oxford University Press
  • ISBN: 0190261137
  • Category:
  • Page: 336
  • View: 4976
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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.

The Voice of Technology

The Voice of Technology

Soviet Cinema's Transition to Sound, 1928–1935

  • Author: LILYA KAGANOVSKY,Associate Professor of Slavic Studies Comparative Literature and Cinema Lilya Kaganovsky
  • Publisher: Indiana University Press
  • ISBN: 0253032660
  • Category: History
  • Page: N.A
  • View: 7344
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As cinema industries around the globe adjusted to the introduction of synch-sound technology, the Soviet Union was also shifting culturally, politically, and ideologically from the heterogeneous film industry of the 1920s to the centralized industry of the 1930s, and from the avant-garde to Socialist Realism. In The Voice of Technology: Soviet Cinema’s Transition to Sound, 1928–1935, Lilya Kaganovsky explores the history, practice, technology, ideology, aesthetics, and politics of the transition to sound within the context of larger issues in Soviet media history. Industrialization and centralization of the cinema industry greatly altered the way movies in the Soviet Union were made, while the introduction of sound radically influenced the way these movies were received. Kaganovsky argues that the coming of sound changed the Soviet cinema industry by making audible, for the first time, the voice of State power, directly addressing the Soviet viewer. By exploring numerous examples of films from this transitional period, Kaganovsky demonstrates the importance of the new technology of sound in producing and imposing the "Soviet Voice."

Place of Breath in Cinema

Place of Breath in Cinema

  • Author: Davina Quinlivan
  • Publisher: Edinburgh University Press
  • ISBN: 0748664742
  • Category: Performing Arts
  • Page: 232
  • View: 4408
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This study considers the locus of the breathing body in the film experience and its implications for the study of embodiment in film and sensuous spectatorship.

Audio-vision

Audio-vision

Sound on Screen

  • Author: Michel Chion,TRANSLATOR
  • Publisher: Columbia University Press
  • ISBN: 9780231078986
  • Category: Performing Arts
  • Page: 239
  • View: 7485
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Deals with issue of sound in audio-visual images

Language in South Asia

Language in South Asia

  • Author: Braj B. Kachru,Yamuna Kachru,S. N. Sridhar
  • Publisher: Cambridge University Press
  • ISBN: 0521781418
  • Category: Foreign Language Study
  • Page: 608
  • View: 9113
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An overview of the language in South Asia within a linguistic, historical and sociolinguistic context, comprising authoritative contributions from international scholars within the field of language and linguistics. It is an accessible interdisciplinary book for students and scholars in sociolinguistics, multilingualism, language planning and South Asian studies.

Psychoanalyzing Cinema

Psychoanalyzing Cinema

A Productive Encounter with Lacan, Deleuze, and Žižek

  • Author: j. jagodzinski
  • Publisher: Springer
  • ISBN: 1137116943
  • Category: Performing Arts
  • Page: 281
  • View: 3329
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The essays within this collection explore the possibilities and potentialities of all three positions, presenting encounters that are, at times contradictory, at other times supportive, as well as complementary. The collection thereby enriches the questions that are being raised within contemporary cinematic studies.

Sound Design and Science Fiction

Sound Design and Science Fiction

  • Author: William Whittington
  • Publisher: University of Texas Press
  • ISBN: 0292773994
  • Category: Performing Arts
  • Page: 288
  • View: 7684
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Sound is half the picture, and since the 1960s, film sound not only has rivaled the innovative imagery of contemporary Hollywood cinema, but in some ways has surpassed it in status and privilege because of the emergence of sound design. This in-depth study by William Whittington considers the evolution of sound design not only through cultural and technological developments during the last four decades, but also through the attitudes and expectations of filmgoers. Fans of recent blockbuster films, in particular science fiction films, have come to expect a more advanced and refined degree of film sound use, which has changed the way they experience and understand spectacle and storytelling in contemporary cinema. The book covers recent science fiction cinema in rich and compelling detail, providing a new sounding of familiar films, while offering insights into the constructed nature of cinematic sound design. This is accomplished by examining the formal elements and historical context of sound production in movies to better appreciate how a film sound track is conceived and presented.Whittington focuses on seminal science fiction films that have made specific advances in film sound, including 2001: A Space Odyssey, THX 1138, Star Wars, Alien, Blade Runner (original version and director's cut), Terminator 2: Judgment Day and The Matrix trilogy and games—milestones of the entertainment industry's technological and aesthetic advancements with sound. Setting itself apart from other works, the book illustrates through accessible detail and compelling examples how swiftly such advancements in film sound aesthetics and technology have influenced recent science fiction cinema, and examines how these changes correlate to the history, theory, and practice of contemporary Hollywood filmmaking.

Home in Hollywood

Home in Hollywood

The Imaginary Geography of Cinema

  • Author: Elisabeth Bronfen
  • Publisher: Columbia University Press
  • ISBN: 0231529422
  • Category: Performing Arts
  • Page: 352
  • View: 2616
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Who can forget Dorothy's quest for the great and powerful Oz as she tried to return to her beloved Kansas? She thought she needed a wizard's magic, only to discover that home—and the power to get there—had been with her all along. This engaging and provocative book proposes that Hollywood has created an imaginary cinematic geography filled with people and places we recognize and to which we are irresistibly drawn. Each viewing of a film stirs, in a very real and charismatic way, feelings of home, and the comfort of returning to films like familiar haunts is at the core of our nostalgic desire. Leading us on a journey through American film, Elisabeth Bronfen examines the different ways home is constructed in the development of cinematic narrative. Each chapter includes a close reading of such classic films as Fleming's The Wizard of Oz, Sirk's Imitation of Life, Burton's Batman Returns, Hitchcock's Rebecca, Ford's The Searchers, and Sayles's Lone Star.

Motion(less) Pictures

Motion(less) Pictures

The Cinema of Stasis

  • Author: Justin Remes
  • Publisher: Columbia University Press
  • ISBN: 0231538901
  • Category: Performing Arts
  • Page: 208
  • View: 2723
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Conducting the first comprehensive study of films that do not move, Justin Remes challenges the primacy of motion in cinema and tests the theoretical limits of film aesthetics and representation. Reading experimental films such as Andy Warhol's Empire (1964), the Fluxus work Disappearing Music for Face (1965), Michael Snow's So Is This (1982), and Derek Jarman's Blue (1993), he shows how motionless films defiantly showcase the static while collapsing the boundaries between cinema, photography, painting, and literature. Analyzing four categories of static film--furniture films, designed to be viewed partially or distractedly; protracted films, which use extremely slow motion to impress stasis; textual films, which foreground the static display of letters and written words; and monochrome films, which display a field of monochrome color as their image--Remes maps the interrelations between movement, stillness, and duration and their complication of cinema's conventional function and effects. Arguing all films unfold in time, he suggests duration is more fundamental to cinema than motion, initiating fresh inquiries into film's manipulation of temporality, from rigidly structured works to those with more ambiguous and open-ended frameworks. Remes's discussion integrates the writings of Roland Barthes, Gilles Deleuze, Tom Gunning, Rudolf Arnheim, Raymond Bellour, and Noel Carroll and will appeal to students of film theory, experimental cinema, intermedia studies, and aesthetics.