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synchronous sound cinema

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Journal Article
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...
Journal Article
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
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
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
Camera Obscura (2022) 37 (2 (110)): 1–29.
Published: 01 September 2022
..., “Ethnicity, Class, and Gender in Film.” 54. Miyao, Sessue Hayakawa , 41. pengxin@uw.edu Copyright © 2022 by Camera Obscura Published by Duke University Press 2022 Orientalism and ornamentalism Asian American stars racial performance and accented voice synchronous sound cinema...
FIGURES
Journal Article
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
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
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
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
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
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...
Journal Article
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
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
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
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
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
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...
Journal Article
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
Camera Obscura (2020) 35 (2 (104)): 63–93.
Published: 01 September 2020
... cinematic ambi- tions. They need their daughters to look right. Games with smaller budgets or different design philosophies, with ambitions more criti- cal than cinematic, are often more interested in how their women sound. In this essay, I focus on how such critically minded video games make use...