Get Film Sound in Italy: Listening to the Screen PDF

By Antonella C. Sisto

ISBN-10: 1137387718

ISBN-13: 9781137387714

ISBN-10: 1349481866

ISBN-13: 9781349481866

A severe engagement with cinema in Italy, this e-book examines the nationwide archive of movie in line with sound and listening utilizing a holistic audio-visual technique. Sisto shifts the sensory paradigm of movie historical past and research from the optical to the sonic, demonstrating how this interprets right into a shift of canonical narratives and interpretations.

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Additional resources for Film Sound in Italy: Listening to the Screen

Example text

Restricted in this way, abridged into ordinary inter-titles, she leaves us, it is useless to conceal it, with a different impression. (14) Hence, the sexy guttural voice of the woman who named herself Garbo—a word that in Italian means “gracefulness,” in Swedish “wood nymph,” and in Spanish “animal grace sublimated” (Erkkila), the actress who became and still is reductively but widely considered and constructed as a pure vessel of provocative feminine attributes for a fantasizing 38 l Film Sound in Italy: Listening to the Screen male audience, a vamp with no heart, a passionate and romantically disillusioned woman, absolutely undesirable for the Regime—had to be erased.

In her detailed study, Ruffin schematizes different periods, 1930 to 1935, as characterized by an apparent positive use of esotismi [exotic words]; 1936–39: their use in the (negative) characterization of snobs is reinforced, substitutive [Italianized] words start to appear; in some example the refusal of the foreign words is highlighted and made explicit in the dialogue; 1940–44: low frequency [scarce presence of esotismi] and growing affirmation of substitutive words. (Dialoghi di Regime 69) According to her schema, it is only during the first fascist wave of xenophobia that cinema in opposition to the legislation gained some tolerant acceptance of foreign terminology.

An intratextual strategy, dubbing inserted and reestablished fascist hegemonic coordinates inside the film itself, in doing so it had to make reference to already known representational schemas, a bad familiar, bad Italian voices, made doubly bad by the mismatching of voice and culturally specific images. The bad voices recall an interview with the director Elia Kazan, published in Filmcritica in 1970, for a report on dubbing that as an unresolved national issue comes around almost cyclically, but only in the niche space of film magazine discussion.

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Film Sound in Italy: Listening to the Screen by Antonella C. Sisto

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