III. Sound as Media 3. Film Sound. 1.Film sound theories (Chion & Altman) 2.Voice and recording (Lastra & Doane) 3.Sound in new media (Whittington) 4.Sound.

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Presentation transcript:

III. Sound as Media 3. Film Sound

1.Film sound theories (Chion & Altman) 2.Voice and recording (Lastra & Doane) 3.Sound in new media (Whittington) 4.Sound in experimental media narratives (Chion & Toop on the work of Hill & Cardiff)

Added Value Synchresis Vococentrism Verbocentrism Music: empathetic / anempathetic Spotting Chion’s Key Concepts:

Fallacies In Film Sound Theory:

1.Historical Fallacies In Film Sound Theory:

1.Historical 2.Ontological Fallacies In Film Sound Theory:

1.Historical 2.Ontological 3.Reproduction Fallacies In Film Sound Theory:

1.Historical 2.Ontological 3.Reproduction 4.Nominalism Fallacies In Film Sound Theory:

1.Historical 2.Ontological 3.Reproduction 4.Nominalism 4.5 Cinema as index Fallacies In Film Sound Theory:

The body in cinema is a fantasmatic body, it offers up a support and point of identification for the subject. (unity and presence) The “addition” of sound (synchronous dialogue) offers the opportunity of representing a fuller and more organically unified body The Voice in the Cinema:

Voice must be anchored by a given body, and the body must be anchored in a given space (p. 164)

Voice-off and Voiceover Visibility and audibility Cinematic spaces: 3 types Silence Uncanny Power Pleasure of hearing Overhearing and voyeurism Psychoanalytic theories of unity and separation The “sonorous envelope” Doane’s main points in her discussion of cinematic voice and space :

Politics of the voice Feminism Voice of the mother in psychoanalysis Voice of the patriarchal order Voice as other

1.Phonographic (perceptual fidelity): simulation 2.Telephonic (intelligibility): writing 2 Models of sound recording in film:

Dialogue recording from the early 1930s onwards Telephonic - minimizing reverberation, background noise, and speech idiosyncrasy; Maximizing “directness” and “frontality” of recording and the intelligibility of dialogue; Statistically dominant Sound as intelligible structure Narrative priority:

Simulation model – representing the experience of hearing within the diegesis The “invisible witness” model of narration POA // POV – humanized machine perception Narratively important and perceptually specific Sound as event Point of Audition: