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vocality and voice

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Journal Article
Camera Obscura (2020) 35 (1 (103)): 1–37.
Published: 01 May 2020
...Lilia Kilburn This article responds to the call, long latent in queer theory, for more nuanced portrayals of vocality. As Andrew Anastasia writes in the introductory issue of TSQ: Transgender Studies Quarterly , accounts of vocality that consider only the voice’s discursive or linguistic qualities...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 65–97.
Published: 01 September 2021
... vocal modulation in “Can't Hug Every Cat” entangle with generational feminist anxieties over gendered forms of articulation such as “sexy baby voice” and “upspeak.” It argues that the problematic of the modulated voice is both technologically and thematically central to political, technological...
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Journal Article
Camera Obscura (2012) 27 (3 (81)): 69–98.
Published: 01 December 2012
... interiority and exteriority. Silverman’s appropriation of Rosolato’s term to the cinematic condition posits the female voice as a fetish object that can restore the wholeness lost to the subject due to the recognition of vocal difference. Amy Lawrence takes up the thread of women’s...
Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 224–249.
Published: 01 September 1991
... sopranos may inspire distaste in women as well as in men. But insofar as I aim in this essay to identify the singing female voice as a privileged source of empowerment and to examine its de- ployment in relation to two distinct modes of male vocalism, it is appropriate, I think, to frame...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 61–91.
Published: 01 September 2016
... media platforms.4 Ventrilo- quism’s play on the peculiarities of vocalization, its comedic staging of the voice’s questionable provenance, may explain the art’s endur- ing popularity. But what new insights might this cultural anachro- nism be able to give us? Perhaps surprisingly...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 93–117.
Published: 01 September 2016
.... She speaks of recipes with anchovies and chicory, family members, politics, and love stories through a vocal perfor- mance of a formidable weight, making audible a wide range of lyrical intonations in her voice. The immobility of her body serves to ground her voice so that we can better hear...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 155–165.
Published: 01 December 2011
...Akiko Mizoguchi Midori Sawato has become the top benshi in Japan since her debut in 1973, having performed at numerous venues in and outside of her country. A benshi is a performer who provides both the expository narration and the voices for on-screen characters for silent films. When Sawato...
Journal Article
Camera Obscura (2007) 22 (3 (66)): 93–127.
Published: 01 December 2007
... further sig- nifcance in tension with a longer cinematic tradition. Chion has observed that extant scholarship on the voice in the cinema repeat- edly refers to women’s nonlinguistic vocalizations as “screams,” while those of men are usually referred to as “shouts.”36 He per- ceives...
Journal Article
Camera Obscura (1995) 12 (3 (36)): 134–153.
Published: 01 September 1995
... her voice. Houston’s renditions are typically imbued with a soul-searching tone and an inspirational, spiritual elegance. Her emotionally moving deliveries resound above compositionally flat musical accompaniments. Further- more, the image of wholesomeness is constructed through...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 11–45.
Published: 01 May 2008
..., beyond all the boundaries of our admiration for their art, an uncanny power to evoke our love. We warm with pleasure at the mere mention of their names; their simplest songs sing in our hearts like the remembered voices of old dear friends, and when we are lost within the listening anonymity...
Journal Article
Camera Obscura (2005) 20 (2 (59)): 165–195.
Published: 01 September 2005
... of melodrama has traditionally been focused on the physical body—“distorting it and arresting it in postures and gestures that speak symbolically of powerful affects” (122)—opera extends its hysterical ambit to the realm of vocality: “The hystericized voice of the operatic aria . . . become[s...
Journal Article
Camera Obscura (2007) 22 (2 (65)): 134–139.
Published: 01 September 2007
... Decadence, Deviance, Disco  •  135 snake spitting venom. Piaf’s ballad becomes a robotic dirge in which Parisian bistro culture and futuristic S-M aesthetics collide. But a curious thing happens halfway through the routine. The semishouted vocals begin to slide toward diva ululations...
Journal Article
Camera Obscura (1980) 2 (2 (5)): 100–110.
Published: 01 September 1980
..., laughing at her other selves, IOX or at us. We have, then, at least four identities for a single body and access to these identities through a single voice, the only voice in the film- Laffont’s. We should expect an equation-the voice is the same as the body-but in Thriller, Laffont’s...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 178–183.
Published: 01 May 2008
... deep, jagged voice and emphasizing the lyrics’ haunting and/or perverse content. Bond’s vocal inter- 180  •  Camera Obscura pretations operate like textual analyses of songs that expose their grains (as opposed to reading against them), excavating the actual meanings of lyrics from...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 125–157.
Published: 01 September 2020
...- tion, Larkin s film unveils the insidious workings of white cultural hegemony on the popular imaginary. In doing so, both films aim at nothing less than revolutionizing the screen.5 And, as when Young pounds her fist to the ground and rises up to Simone s voice defi- antly declaring, I AM PEACHES...
Journal Article
Camera Obscura (1980) 2 (3 (6)): 112–119.
Published: 01 December 1980
..., unreal vocal compositions, Alice Coltrane, LaBelle, the Drifters, a mother and daughter remembering what Coney Island used to be like, and two or three bmes the sound of the filmmaker’s voice reading what she has written about Coney Island. The sound joins the image indirectly...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 1–45.
Published: 01 May 2001
...—in fact, it is not her distinctive voice at all. Her vocal part has been dubbed into Italian by someone else. The “wonder- fully dynamic Alain Delon” in The Eclipse is out of synch as well: at times he appears to be voicing Italian as his labials lag behind...
Journal Article
Camera Obscura (2007) 22 (2 (65)): 154–157.
Published: 01 September 2007
... and the more popular (but still edgy) Live through This on my speakers. Love’s voice erupted from her vocal cords and ravaged my eardrums, and I bought right into the celebrity her egregious antics generated. Something about her was uncannily familiar and intellectually engaging. I imagined...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 23–55.
Published: 01 December 2004
... in relation- ships, serves as vocal backdrop. Despite the television movie’s inscription of a sincere melodrama, like Superstar, it lets Karen’s voice take on the burden of authorial irony. In Haynes’s film, he and other actors portray music critics in a mock talking-heads documentary sequence...
Journal Article
Camera Obscura (2014) 29 (2 (86)): 149–183.
Published: 01 September 2014
... or ideological critique, they emphasize Dash’s complicated staging of a pivotal sequence in a recording studio where Mignon oversees the rescue of a troubled musical.3 She supervises from the booth as a dark-­skinned African American singer named Ester Jeeter (Rosanne Katon) furnishes a new vocal track...