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\u27s hidden, faceless voices and their magical powers, particularly in the context of Lang\u27s Testament of Dr. Mabuse. Chion then explores subjective voices, bonding and entrapment by...
This work formulates a new language for speaking about the operatic voice in film. Beyond cultural s...
Michel Chion _Audio-Vision: Sound on Screen_ Translated by Claudia Gorbman Foreword by Walt...
L'article est paru la première fois dans Iris 4, no 1 (1986), p. 107-119, et est mis en ligne avec l...
French critic and composer Michel Chion argues that watching movies is more than just a visual exerc...
Michel Chion is well known in contemporary film studies for his innovative investigations into aspec...
In Audio-Vision: Sound on Screen, French critic and composer Michel Chion reassesses audiovisual med...
This paper engages with the writings of Michel Chion and seeks to study the function of the human sc...
This paper engages with the writings of Michel Chion and seeks to study the function of the human sc...
This essay will explore how in a post-cinematic environment, the voice introduces new forms of subje...
This article examines the relationship between cinematic voices and bodies in Louis Malle�s film a...
Les théoriciens de la voix cinématographique, tels Michel Chion, Rick Altman, Mary Ann Doane et Kaja...
The thesis, entitled Penser l'écran sonore : les théories du film parlant ( Thinking the sound scree...
Despite suffering from the after-effects of both World Wars and competition with music halls, mime, ...
After a survey of the major critical trends since the generalization of synchronized film sound, thi...
The dynamic dance of sound and image in the cinematic landscape continually prompts thoughtful analy...
This work formulates a new language for speaking about the operatic voice in film. Beyond cultural s...
Michel Chion _Audio-Vision: Sound on Screen_ Translated by Claudia Gorbman Foreword by Walt...
L'article est paru la première fois dans Iris 4, no 1 (1986), p. 107-119, et est mis en ligne avec l...
French critic and composer Michel Chion argues that watching movies is more than just a visual exerc...
Michel Chion is well known in contemporary film studies for his innovative investigations into aspec...
In Audio-Vision: Sound on Screen, French critic and composer Michel Chion reassesses audiovisual med...
This paper engages with the writings of Michel Chion and seeks to study the function of the human sc...
This paper engages with the writings of Michel Chion and seeks to study the function of the human sc...
This essay will explore how in a post-cinematic environment, the voice introduces new forms of subje...
This article examines the relationship between cinematic voices and bodies in Louis Malle�s film a...
Les théoriciens de la voix cinématographique, tels Michel Chion, Rick Altman, Mary Ann Doane et Kaja...
The thesis, entitled Penser l'écran sonore : les théories du film parlant ( Thinking the sound scree...
Despite suffering from the after-effects of both World Wars and competition with music halls, mime, ...
After a survey of the major critical trends since the generalization of synchronized film sound, thi...
The dynamic dance of sound and image in the cinematic landscape continually prompts thoughtful analy...
This work formulates a new language for speaking about the operatic voice in film. Beyond cultural s...
Michel Chion _Audio-Vision: Sound on Screen_ Translated by Claudia Gorbman Foreword by Walt...
L'article est paru la première fois dans Iris 4, no 1 (1986), p. 107-119, et est mis en ligne avec l...