Voice in Cinema

ISBN-10: 0231108230
ISBN-13: 9780231108232
Edition: 1999
List price: $30.00 Buy it from $16.31
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Description: How can a voice whose source is never seen--such as Norman Bates's mother in Psychoor Hal in 2001: A Space Odyssey--have such a powerful hold over an audience? And how have such directors as Fritz Lang and Alfred Hitchcock used "the being heard but  More...

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Book details

List price: $30.00
Copyright year: 1999
Publisher: Columbia University Press
Publication date: 2/10/1999
Binding: Paperback
Pages: 200
Size: 5.75" wide x 9.25" long x 0.50" tall
Weight: 0.638
Language: English

How can a voice whose source is never seen--such as Norman Bates's mother in Psychoor Hal in 2001: A Space Odyssey--have such a powerful hold over an audience? And how have such directors as Fritz Lang and Alfred Hitchcock used "the being heard but not seen" to build suspense in films since the advent of "talkies" in 1927? In a brilliant exploration of a subject no one else has written on at any length, one of the foremost experts on film sound explores the mysterious power of the human voice-particularly the disembodied voice-as deployed in cinema. Michel Chion, author of Audio-Vision,analyzes imaginative uses of the human voice by directors like Lang, Hitchcock, Ophuls, Duras, and de Palma. The first part of The Cinematic Voiceconsiders the hidden, faceless voice and its magical powers, particularly as used in Fritz Lang's Testament of Dr. Mabuse.Chion sees this film, produced at the dawn of the sound era, as a template for the voice in cinema. The middle section's five essays explore entrapment by telephone, voice-thieves, screams of terror, siren calls, and the silence of mute characters. Finally, Chion looks at "the monstrous marriage of the filmed voice and body" as figured in Psycho'sNorman Bates. Claudia Gorbman's fluent translation introduces readers to Chion's sophisticated and accessible analysis in a work that established his reputation as a major voice in French film criticism.

Michel Chion is a composer of musique concr�te, a filmmaker, an associate professor at the Universit� de Paris, and a prolific writer on film, sound, and music. His other books with Columbia University Press are Film, A Sound Artand The Voice in Cinema.Claudia Gorbman is a film studies professor at the University of Washington, Tacoma. She is the author of Unheard Melodies: Narrative Film Music(1987), the editor of several books, and the author of many articles on film sound and film music. She is also the translator of Michel Chion's Film, A Sound Art, The Voice in Cinema, and 2001: Kubrick's Cinema Odyssey.Walter Murch has been repeatedly honored by both the British and American Motion Picture Academies for his sound design and picture editing. He has received special recognition for his work in The Godfather, The Conversation, Apocalypse Now, and The English Patient.

Mabuse: Magic and Powers of Acousmetre
The Acousmetre
The Silences of Mabuse
The I-Voice
Tamaki: Tales of the Voice
The Voice Connection
The Screaming Point
The Master of Voices
The Mute Character's Final Words
The Siren's Song
Norman; Or The Impossible Anacousmetre
The Voice that Seeks a Body
The Confession
Epilogue: Cinema's Voices of the 80's and 90's

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