Doane, M. A. (1980). Ideology and the practice of sound editing and mixing. In T. de Lauretis & S. Heath (Eds.), The Cinematic Apparatus. (pp. 47–56). London: Macmillan.
Added by: Deleted user Last edited by: Mark Grimshaw-Aagaard 06/06/2023, 14:41
In cinema of the Hollywood studio system, there is an "emphasis placed on the 'ideology of the visible' ... Sound is something which is added to the image, but nevertheless subordinate to it--it acts, paradoxically, as a 'silent' support."
"The ineffable, intangible quality of sound requires that it be placed on the side of the emotional or the intuitive. If the ideology of the visible demands that the spectator understand the image as a truthful representation of reality, the ideology of the audible demands that there exist simultaneously a different truth and another order of reality for the subject to grasp."
"Sound is a bearer of a meaning which is communicable and valid but unanalysable."
"In the arguments over sound perspective, 'realism' (as an effect of the ideology of the visible) is viewed as conflicting with intelligibility".
Quoting John Cass from 1930 describing the early sound film "the sound which would be heard by a man with five or six very long ears, said ears extending in various directions".
Of all sounds on film, dialogue is prioritised and assured of intellibility.
Spoken words reveal directly the psychological interior revealing the character on screen. While image can do this, sound is more direct. Image is best at defining the exterior (i.e. visible realism) whereas sound best defines the interior (i.e. psychological realism).
Gomery, D. (1980). Towards an economic history of cinema: The coming of sound to Hollywood. In T. de Lauretis & S. Heath (Eds.), The Cinema Apparatus. (pp. 38–46). London: Macmillan.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 16/02/2006, 07:04
Heath, S. (1976). Narrative space. Screen, 17, 68–112.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 19/04/2005, 09:36
