A Dark and Shiny Place: the Disembodied Female Voice, Irigarayan Subjectivity and the Political Erotics of Hearing Her (Spike Jonze, 2013) / Davina Quinlivan. 17. The Writing Voice in Cinema: A Preliminary Discussion / Rey Chow -- 2. Tito Schipa, Italian Film Sound, and Opera's Legacy on Screen / Jennifer Fleeger -- 3. The Voice of Argentina: Gender, Humour and the National Soundscape in the Film Comedy of Nini Marshall / Christine Ehrick -- 4. Gender, Bawdiness, and Bodily Voices: Bombay Cinema's Audiovisual Contract and the 'Ethnic' Woman / Pavitra Sundar -- 5. Double Doublage: Vocal Performance in the French Dubbed Versions of Pixar's Toy Story and Cars / Colleen Montgomery -- 6. Anime's Star Voices: Voice Actor (Seiyu) Performance and Stardom in Japan / Rayna Denison -- 7. Woody's Spanish "Double": Vocal Performance, Ventriloquism and the Sound of Dubbing / Tom Whittaker -- 8. Mad Max, Accented English and Same-Language Dubbing / Tessa Dwyer -- 9. Anna Magnani: Voice, Body, Accent / Catherine O'Rawe -- 10. Carmen Miranda's Voice in Hollywood / Lisa Shaw -- 11. Feeling the Voice: Embodied Aural Encounters in Under the Bombs (Philippe Aractangi, 2007) / Nessa Johnston -- 12. Vocal Spaces and Oral Traces: Voice, Orality, and Ousmane Sembene's Early Postcolonial Critique / Alexander Fisher -- 13. Crude Extractions: The Voice in Iranian Cinema / Negar Mottadeheh -- 14. Spectral Voices and Resonant Bodies in Fernando Guzzoni's Dogflesh (Carne de perro, 2012) / Sarah Wright -- 15. Snowpiercer: Sound Designable Voices and the South Korean Global Film / 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) / Albertine Fox -- 17. A Dark and Shiny Place: the Disembodied Female Voice, Irigarayan Subjectivity and the Political Erotics of Hearing Her (Spike Jonze, 2013) / Davina Quinlivan.
Summary:
"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."-- Provided by publisher.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.