By Britta H. Sjogren
ISBN-10: 0252072677
ISBN-13: 9780252072673
"Into the Vortex" demanding situations and rethinks feminist movie theory's excellent yet frequently pessimistic reflections at the workings of sound and voice in movie. together with shut readings of significant movie theorists reminiscent of Kaja Silverman and Mary Ann Doane, Britta H. Sjogren deals a substitute for image-cantered situations that dominate feminist movie theory's critique of the illustration of sexual distinction. Sjogren makes a speciality of a rash of Nineteen Forties Hollywood movies during which the feminine voice bears a marked formal presence to illustrate the ways in which the female is expressed and distinction is continued. She argues that those movies capitalize on specific psychoanalytic, narratological and discursive contradictions to carry out and convey distinction, instead of to include or shut it down. Exploring the lively dynamic engendered via contradiction and paradox, Sjogren charts a manner out of the pessimistic, monolithic view of patriarchy and cinema's illustration of women's voices.
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Extra resources for Into the Vortex: Female Voice and Paradox in Film
Sample text
55 The spectator’s demand here, then, is somewhat paradoxical, insisting on having a heterogeneous signifier (the image is not enough by itself), and insisting that its heterogeneity adhere in a kind of union with the image. Sound, moreover, appears to provide much of the pleasure of film—early spectators found its absence grating, its presence soothing. ”56 One cannot really attribute this pleasure to a surfeit of realism, since these “primitive” offscreen narrations and musical scores hardly contributed to ground the image in the real (indeed, they threatened at times to render it more unreal).
We need to consider the peculiar absence of sound in looking for alternate configurations of spectatorship. James Lastra’s work on sound suggests, in fact, that it is always absent. ”40 He claims, pointing to Altman’s example of the sound of the shattering window (heard by father and son in different spaces differently), that by definition “there is no strictly definable ‘original’ event . . each auditor gets a slightly different sense of the sound, depending on his or her location and the directedness of his or her hearing .
I hope in this way not only to avoid reducing the complexity of her arguments to a single “refutable” point, but also to render homage to the intricacy of the issues at stake. The question of the body, like others that will be explored in these pages, cannot be “contained” in a discussion of psychoanalytic registers, but also pertains to textual structure. One needs a simultaneous cognizance of both relations to appreciate how the voice-off works in order to begin to understand the multifaceted question that the body poses.
Into the Vortex: Female Voice and Paradox in Film by Britta H. Sjogren
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