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Journal Article
“Cinema at Its Source”: Synchronizing Race and Sound in the Early Talkies
Available to Purchase
Camera Obscura (2002) 17 (1 (49)): 31–71.
Published: 01 May 2002
... Art
“Cinema at Its Source”:
Synchronizing Race and Sound
in the Early Talkies
Alice Maurice
One of MGM’s publicity photos for King Vidor’s Hallelujah! (US,
1929) features two of its stars, Victoria Spivey and Daniel Haynes,
looking at a piece of the movie’s soundtrack. Entitled...
View articletitled, “<span class="search-highlight">Cinema</span> at Its Source”: <span class="search-highlight">Synchronizing</span> Race and <span class="search-highlight">Sound</span> in the Early Talkies
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Journal Article
Sex Out of Sync: Christmas on Earth 's and Couch 's Queer Sound Tracks
Available to Purchase
Camera Obscura (2013) 28 (2 (83)): 45–75.
Published: 01 September 2013
..., their sex, and their sound tracks; it would seem that the footage in both films might have been shown in any order, that anyone on-screen might have sex with anyone else, and that any ambient sound might score any image. In cinema, synchronization takes disparate image and sound tracks and fixes them...
Journal Article
Puppet Love: Documenting Ventriloquism in Nina Conti's Her Master's Voice
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Camera Obscura (2016) 31 (2 (92)): 61–91.
Published: 01 September 2016
... and the
visual ultimately collude to fool an audience. In the early 1980s,
ventriloquism as a metaphor was in vogue in Euro-American cinema
studies: both Rick Altman and Michel Chion use the term in their
writings from this period to illuminate the effects of sound-image
synchronization and dubbing...
Journal Article
Deanna Durbin and the Mismatched Voice
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Camera Obscura (2012) 27 (3 (81)): 69–98.
Published: 01 December 2012
..., and male and female personality traits. By examining the career of one mismatched woman, Deanna Durbin, I revisit film theory's reliance on discourses of synchronicity and patriarchy to account for the female voice in cinema. I show how Durbin's celebrity is dependent on a developing conception...
Journal Article
Anna May Wong and Sessue Hayakawa: Racial Performance, Ornamentalism, and Yellow Voices in Daughter of the Dragon (1931)
Available to Purchase
Camera Obscura (2022) 37 (2 (110)): 1–29.
Published: 01 September 2022
... performance and accented voice synchronous sound cinema interwar US cinema The 1931 Paramount production Daughter of the Dragon (dir. Lloyd Corrigan, US) belongs to the array of yellow peril thrillers that capitalized on the popular Dr. Fu Manchu series. In contrast to other Fu Manchu films...
FIGURES
Journal Article
Deaf Ears and Dark Continents: Dorothy Richardson's Cinematic Epistemology
Available to Purchase
Camera Obscura (1992) 10 (3 (30)): 4–33.
Published: 01 May 1992
....20In sum, as a publication ded-
icated to the sustenance of independent “avant-garde” cinema, Close
Up opposes synchronized sound as the mark of an inferior and in-
creasingly dominant aesthetic that promises to threaten all experimen-
tal artistic practices.21
As sound grows...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 1–25.
Published: 01 September 2016
....
The Testament series continues to investigate the hybrid
private-public spaces in which political expression takes form
online and the corresponding types of listening appropriate to this
new context.44 Bookchin synchronizes what April Durham calls a
“percussive voicing of ‘self’ ” on the sound...
Journal Article
In the Twilight of Modernity and the Silent Film: Irie Takako in The Water Magician
Available to Purchase
Camera Obscura (2005) 20 (3 (60)): 91–127.
Published: 01 December 2005
... not imply
that they sought to represent sound by visual means; rather, the
new silent cinema was to incorporate the duration produced by
synchronized human speech into its spatiotemporal construction.
On the other hand, their sensitivities toward medium specificity
led to a reevaluation of those...
Journal Article
Feminist Film in the Gallery: If 6 Was 9
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Camera Obscura (2005) 20 (1 (58)): 1–31.
Published: 01 May 2005
...,
multiscreen projections often play refl exively on fi lm and televi-
sion forms, transposing them to the gallery in order to disrupt
mainstream conventions, including synchronized sound, conti-
nuity editing, linear narrative, and humanist characterization. If,
as Weibel suggests, the utopian project...
Journal Article
The Hidden Agenda: Re-Vision: Essays in Feminist Film Criticism
Available to Purchase
Camera Obscura (1985) 5 (1-2 (13-14)): 235–249.
Published: 01 September 1985
... of woman’s relationship to the gaze, Kaja
Silverman explores the neglected terrain of woman’s relationship to the
voice. Silverman notes that ‘ ‘the rule of synchronization is imposed much
more strictly on the female than on the male voice within dominant
cinema’ ’ (p. 133...
Journal Article
Miriam Hansen
Available to Purchase
Camera Obscura (1989) 7 (2-3 (20-21)): 169–174.
Published: 01 December 1989
... into the 1920s. The advent of synchronized sound and a
standardized speed of projection drastically curtailed the initiative of
the individual exhibitor; and the activities surrounding the film in-
creasingly became a promotional ritual organized from above and on
a national scale. Yet, as long...
Journal Article
The Name above the (Sub)Title: Internationalism, Coproduction, and Polyglot European Art Cinema
Free
Camera Obscura (2001) 16 (1 (46)): 1–45.
Published: 01 May 2001
... more extreme protests were voiced in a 1970 Cahiers
du cinéma interview with Jean-Marie Straub and Danièle Huillet,
experimental modernist filmmakers who are noted for filming
in direct sound and whose statements appear in one of the
epigraphs...
View articletitled, The Name above the (Sub)Title: Internationalism, Coproduction, and Polyglot European Art <span class="search-highlight">Cinema</span>
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Journal Article
Contagion and the Boundaries of the Visible: The Cinema of World Health
Available to Purchase
Camera Obscura (2002) 17 (2 (50)): 1–39.
Published: 01 September 2002
... the silent era, but
also after the development of synchronized sound. This feature is
clearly not unique to the public health films under investigation
here, but the ideological implications of the image/sound split
resonate in both Hollywood and public health cinema. Indeed,
the classical Hollywood...
Journal Article
“Actors Simply Explode”: To Act in the Cinema of Jean-Marie Straub and Danièle Huillet
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Camera Obscura (2016) 31 (2 (92)): 93–117.
Published: 01 September 2016
...
There are two particular experiments with sound and speech that
have played a fundamental role in the cinema of Straub and Huil-
let.25 Since the start of their filmmaking, Straub and Huillet have
To Act in the Cinema of Straub and Huillet • 103
been...
Journal Article
Melancholic Arrangements: Music, Queer Melodrama, and the Seeds of Transformation in The Hours
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Camera Obscura (2006) 21 (1 (61)): 105–145.
Published: 01 May 2006
... film.
11. B. Ruby Rich, “Homo Pomo: The New Queer Cinema,” in Women
and Film: A Sight and Sound Reader, ed. Pam Cook and Philip
Dodd (Philadelphia: Temple University Press, 1993), 50–61.
12. Gary Morris outlines a history of queer cinema in his essay
“A Brief History...
Journal Article
Love at Last Site: Waiting for Oedipus in Stanley Kwans Rouge
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Camera Obscura (1993) 11 (2 (32)): 75–101.
Published: 01 September 1993
... to
coerce not only woman’s ‘‘looks but additionally her “voice” into nor-
mative Oedipal paradigms, Kaja Silverman observes that woman’s devalued
position in cinema’s scopic and auditory regime is articulated, in the most
basic sense, through the synchronized alignment of her voice...
Journal Article
The Dream of the Nineteenth Century
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Camera Obscura (2002) 17 (3 (51)): 1–29.
Published: 01 December 2002
... of the camera. And in part 2B, a grown woman (Sabine
Azéma) delivers a crucial monologue on the topic of beauty, again
in synchronized sound. The second of these speeches is especially
remarkable, since beauty is an attribute traditionally incarnated by
the female subject but “addressed” to the male. Here...
Journal Article
Cinema Histories, Cinema Practices Asilomar Conference
Available to Purchase
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 223–233.
Published: 01 December 1982
... for a political
understanding of cinema, feminist critical practice must start from
the question “What about now? What about my time and place in
the apparatus of look and identification, in the nexus of image, sound
and narrative temporality.”
Claire Pajaczkowska’s paper, “Re-placing...
View articletitled, <span class="search-highlight">Cinema</span> Histories, <span class="search-highlight">Cinema</span> Practices Asilomar Conference
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Journal Article
Introduction to Arnold Schoenberg's ‘Accompaniment for a Cinematographic Scene’:Straub/Huillet: Brecht: Schoenberg
Available to Purchase
Camera Obscura (1977) 1 (2 (2)): 34–49.
Published: 01 September 1977
.... In cinema, Straub/ Huillet, along with Go-
dard, Vertov and others, pursue the ramifications of their break with tra-
ditions of narrative and visual codicity, their break with what is common-
ly called 'illusionism'. And the terms of this departure are in many re-
spects parallel...
Journal Article
Damsels Who Distress: Gender and the Acousmatic Voice in Video Games
Available to Purchase
Camera Obscura (2020) 35 (2 (104)): 63–93.
Published: 01 September 2020
... interested in how their women sound. In this essay, I focus on how such critically minded video games make use of the female voice, and particularly the acous- matic female voice, illustrating the ways in which it is used and abused. Rather than targeting games in which clear abuses are evident, I begin...
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