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La voce è insieme fonazione e relazione, misura del Sé ma anche dell'Altro, medium del linguaggio e sua messa in discussione, contemporaneamente dentro e fuori dalla parola e dal corpo. Muovendo da un approccio che pensa il cinema come una mise-en-scène di corpi, e ponendo particolare enfasi sulla materialità e la mobilità della φων, il volume esplora lo statuto della voce filmata e i suoi usi nelle pratiche artistiche cinematiche. Come ripensare il rapporto, simbolico e materiale, tra le pratiche dell'ascolto e quelle della visione alla luce delle recenti trasformazioni del cinema? È possibile riconoscere un valore euristico alla voce indipendentemente dalla parola? Tracciando le coordinate di un dibattito ancora frammentario e in larga parte da costruire, l'autrice analizza la voce come oggetto tecno-culturale e istanza performativa, gesto estetico e politico al centro dei processi di soggettivazione e di (dis)identificazione che hanno luogo sullo schermo o a partire da esso.

Voice in motion pictures. --- Voix (cinéma)

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Voice-overs. --- Voice in motion pictures. --- Women in motion pictures. --- Motion pictures --- Voiceovers --- Television announcing

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"Over the past three decades, the study of the film soundtrack has developed into a rich scholarly discipline, characterized by diverse approaches and methodologies drawn from such disciplines as musicology, music theory, film and media studies, and sound studies. Yet, despite the diversity of approaches, the logic of the soundtrack and the relationship among its various components remains underexplored and undertheorized. The voice has long been an object of focus of many theoretical approaches to sound in cinema. But because of the way it relates to meaning and hierarchy, "voice" is also a useful metaphorical conceit for thinking about relations within the soundtrack. "Voice" can have multiple meanings when considering the integrated soundtrack and its position in the history of film music and sound. This volume builds on existing scholarship on music and film sound, with particular attention to the concepts of the voice in cinema, vococentrism, and the integrated soundtrack. What is the cinematic significance of the singing voice ? How do music and dialogue interact in cinema ? To what extent, if any, is silent film vococentric ? Is vococentrism still a useful category to apply to conetmporary postclassical film ? These are some of the questions the essays in this volume will address"--

Motion picture music --- Film soundtracks. --- Voice in motion pictures. --- History and criticism.

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Cet essai propose une analyse de l'oeuvre cinématographique et audiovisuelle d'Alexander Kluge (1932), figure de proue du Nouveau Cinéma allemand, et s'inscrit dans le renouveau des Sound Studies, les théories interdisciplinaires (histoire, philosophie, politique, anthropologie) de l'écoute et du sonore. Dans l'oeuvre protéiforme du cinéaste, l'attention au son - celui des voix, de la musique, des bruits et des silences - fait s'entremêler temps raconté et temps musical. Les propositions cinématographiques de Kluge enchevêtrant temporalités et formes sont une réinvention de "l'expérience de seuil". Dans une esthétique du fragmentaire où le montage des fragments obéit à une "précision de l'à-peu-près", l'insolence du son fait sortir la philosophie de ses gonds. Kluge cherche à musicaliser au cinéma les textes philosophiques ; il réinvente au cinéma un dispositif rêvé par Adorno dans lequel, remarque Derrida, "la philosophie doit répondre devant la musique", pour faire entendre une voix politique plurielle.

Motion picture producers and directors --- Sound in motion pictures --- Voice in motion pictures --- Voix (cinéma) --- Cinéma --- Son --- Kluge, Alexander, --- Criticism and interpretation.

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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."--

PERFORMING ARTS / Film & Video / Direction & Production. --- Voice in motion pictures. --- Dubbing of motion pictures. --- Voice-overs. --- Voix au cinéma --- Doublage de films --- Voix hors champ --- Voix (cinéma) --- Films --- Voix off --- Doublage --- Voix au cinéma --- Voix off. --- Doublage.