The Voice in Cinema
The Voice in Cinema by Michel Chion, published by Columbia University Press in 1999, is an illustrated work that delves into the intricate relationship between voice and film. This 183-page book examines how unseen voices, such as those of Hal in 2001: A Space Odyssey or Norman Bates’ mother in Psycho, can profoundly impact audiences. Chion, an authority on film sound, explores the dynamics of synchronized sound and its failures, as well as the artistic techniques employed by notable filmmakers like Jacques Tati and Kenji Mizoguchi.
In this insightful essay, readers will discover the various ways the human voice is utilized in cinema, from hidden voices to subjective experiences that evoke emotional responses. Chion discusses themes such as voice-thieves, screams, and the silence of mute characters, highlighting their unique roles in storytelling. The translation by Claudia Gorbman preserves Chion’s accessible style, making complex ideas about voice acting and media studies approachable for a wide audience. This edition invites readers to engage with the transformative power of voice in the cinematic experience.
Official synopsis Publisher
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.
Publisher
Topics
FAQ
What is “The Voice in Cinema” about?
Who is the author of “The Voice in Cinema”?
When was “The Voice in Cinema” published?
What is the ISBN for “The Voice in Cinema”?
What are the book details (language, pages, edition)?
