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by Claudia Gorbman,Michel Chion

  • ISBN: 0231108230
  • Category: Other
  • Author: Claudia Gorbman,Michel Chion
  • Subcategory: Humanities
  • Other formats: mobi docx txt mbr
  • Language: English
  • Publisher: Columbia University Press (February 10, 1999)
  • Pages: 208 pages
  • FB2 size: 1810 kb
  • EPUB size: 1446 kb
  • Rating: 4.1
  • Votes: 204
Download The Voice in Cinema fb2

His other books with Columbia University Press are Film, A Sound Art and Audio-Vision: Sound on Screen. Claudia Gorbman is a film studies professor at the University of Washington, Tacoma.

Only 4 left in stock (more on the way). His other books with Columbia University Press are Film, A Sound Art and Audio-Vision: Sound on Screen. She is also the translator of Michel Chion's Film, A Sound Art, Audio-Vision: Sound on Screen, and 2001: Kubrick's Cinema Odyssey.

Claudia Gorbman is a film studies professor at the University of Washington, Tacoma. She is also the translator of Michel Chion's Film, A Sound Art, The Voice in Cinema, and 2001: Kubrick's Cinema Odyssey.

The Voice in Cinema book.

Similar books and articles. the Acoustic Mirror, the Female Voice in Psychoanalysis and Cinema. The Politics of Gender in the New Latin American Cinema. The Geopolitical Aesthetic Cinema and Space in the World System. Fredric Jameson - 1992. Blackout Reinventing Women for Wartime British Cinema.

The Voice in Cinema by Michel Chion. I. Mabuse: Magic and Powers of Acousmetre. Paperback ISBN: 0231108230 - 208 pages (March 1999) Columbia University Press; Hardcover ISBN: 0231108222.

The Voice in Cinema begins with the phemen of film's hidden, faceless voices and their magical powers, particularly .

The Voice in Cinema begins with the phemen 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.

Format Paperback 208 pages.

1 . The Acoustic Mirror Kaja Silverman Indiana University Press, 1988 . Sound Theory, Sound.

Michel Chion, author of analyzes imaginative uses of the human voice by directors like Lang, Hitchcock, Ophuls, Duras, and de Palma. Sound Theory, Sound Practice Rick Altman Routledge, 1992 .

Michel Chion, Claudia Gorbman. Translation of Michel Chion, "Sensory Aspects of Contemporary Cinema". Mabuse: Magic and Powers of Acousmetre1.

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.
Reviews about The Voice in Cinema (2):
Dori
Chion's work is a Classic!

That's enough to recommend right there.

But there is more! It's really important to learn to think in new ways about elements of sound and the voice of the film. Chion is the place to do this!!!

I found that I could read this again... and again. Each time I advance my understanding and then can pick up new gems of information. That's really what made it worth buying - and why I bought a new copy of this classic work. Reading selections over has helped with other aspects of film and Cinema - like MoCap work.

Yes... buy this... read it... and keep handy in a familiar spot. You will be after it again....

--jr
Tenius
Great book came as ordered!

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