Where is the place of the voice in film? Where others have focused
on Hollywood film, this volume aims to extend the field to other
cinemas from around the world, encompassing Latin America, Asia and
Africa amongst others. Traditional theoretical accounts, based on
classical narrative cinema, examine the importance of the voice in
terms of a desired perfect match between visuals and sonic effects.
But, as the chapters of this volume illustrate, what is normative
in one film industry may not apply in another. The widespread
practices of dubbing, postsynch sound and "playback singing" in
some countries, for instance, provide an alternative means of
understanding the location of the voice in the soundtrack. Through
seventeen original chapters, this volume situates the voice in film
across a range of diverse national, transnational and cultural
contexts, presenting readings which challenge traditional readings
of the voice in film in exciting new ways. By taking a comparative
view, this volume posits that the voice may be best understood as a
mobile object, one whose trajectory follows a broader network of
global flows. The various chapters explore the cultural
transformations the voice undergoes as it moves from one industry
to another. In doing so, the volume addresses sound practices which
have been long been neglected, such as dubbing and non-synch sound,
as well the ways in which sound technologies have shaped nationally
specific styles of vocal performance. In addressing the place of
the voice in film, the book intends to nuance existing theoretical
writing on the voice while applying these critical insights in a
global context.
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