iii. sound as media 3. film sound. 1.film sound theories (chion & altman) 2.voice and recording...
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: