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Voice in Cinema by Michel Chion (1999, Trade Paperback)

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About this product

Product Identifiers

PublisherColumbia University Press

ISBN-100231108230

ISBN-139780231108232

eBay Product ID (ePID)673967

Product Key Features

Number of Pages208 Pages

LanguageEnglish

Publication NameVoice in Cinema

Publication Year1999

SubjectFilm / General, Media Studies

TypeTextbook

AuthorMichel Chion

Subject AreaPerforming Arts, Social Science

FormatTrade Paperback

Dimensions

Item Height0.5 in

Item Weight11.1 Oz

Item Length9.1 in

Item Width7.7 in

Additional Product Features

Intended AudienceScholarly & Professional

LCCN98-019048

Reviews"Elementary questions, creative responses, and clear prose make this one of the few books on film sound capable of simultaneously satisfying scholars and students alike. How wonderful to have Voice in Cinema available, finally, in such a readable English translation." -- Rick Altman, editor of Sound Theory, Sound Practice

TitleLeadingThe

Dewey Edition21

Grade FromCollege Graduate Student

IllustratedYes

Dewey Decimal791.43/02/908

Table Of ContentI. Mabuse: Magic and Powers of Acousmetre 1. The Acousmetre 2. The Silences of Mabuse 3. The I-Voice II. Tamaki: Tales of the Voice 4. The Voice Connection 5. The Screaming Point 6. The Master of Voices 7. The Mute Character's Final Words 8. The Siren's Song III. Norman; Or The Impossible Anacousmetre 9. The Voice that Seeks a Body 10. The Confession Epilogue: Cinema's Voices of the 80's and 90's

SynopsisChion analyzes imaginative uses of the human voice by directors like Lang, Hitchcock, Ophuls, Duras, and de Palma., How can a voice whose source is never seen--such as Hal in 2001: A Space Odyssey or the mother of Norman Bates in Psycho --have such a powerful hold on an audience? When does "synchronized sound" fail to link bodies to their voices, and how do such great stylists of sound film as Jacques Tati, Kenji Mizoguchi, and Marguerite Duras deploy the power of the voice? In this brilliant essay, Michel Chion, internationally cited authority on the history and poetics of film sound, examines the human voice in cinema. The Voice in Cinema begins with the phenomenon of film's hidden, faceless voices and their magical powers, particularly in the context of Lang's Testament of Dr. Mabuse . Chion then explores subjective voices, bonding and entrapment by telephone, voice-thieves, screams (male and female), siren calls, and the silence of mute characters-all uniquely cinematic deployments. In conclusion, Chion considers "the monstrous marriage of the filmed voice and body" as embodied in Norman Bates. Claudia Gorbman's fluent translation retains Chion's sophisticated and accessible style, introducing readers to a distinct and paradigm-changing voice on film.

LC Classification NumberPN1995.C4713 1999