During the past three decades, studying the voice has
intrigued many film theorists and thinkers. Arguing that the cinematic image is
an audiovisual space largely structured according to human body and voice, some
scholars (Mary Ann Doane, Sarah Kozloff, and Michel Chion, among others) have
been drawn to the various manifestations and mysterious connotations of the
non-visualized voice.
If off-screen voices foster a need to categorize and perhaps
control their elusive nature, then the voice-over raises some challenging
questions about its uncanny attributes and powers. Defined by a paradoxical
present-absence, the voice-over adds layers to the narrative discourse of film
that require further and closer analyses.
For our Spring 2012 issue, Cinephile welcomes essays
aiming to critically organize and academically explain the variety of
off-screen voices, study the evolution of voice-over in the history of global
cinema, analyze the narrative and non-narrative applications and functions of
it in different audiovisual experiences, and delve deeper into the
socio-political and psychoanalytical aspects of this technique with regards to
race, class, and gender implications.
For more information, please click here.
0 comments:
Post a Comment