Seeing voices: Oral pragmatics and the silent cinema
2009; Taylor & Francis; Volume: 7; Issue: 2 Linguagem: Inglês
10.1080/17460650903010691
ISSN1746-0662
Autores Tópico(s)Shakespeare, Adaptation, and Literary Criticism
ResumoAbstract This article suggests that we have perhaps too willingly dichotomized silent and sound cinema. Historically and conceptually cleaving these two forms based on the presence (or absence) of the voice may have aided in obfuscating other narrative pressures that traverse, complicate, and in some sense call into question the insuperability of the silent–sound barrier. One of these pressures entails narrative and performative norms that are fundamentally oral – that is, that are hinged on non‐writing‐based ways of knowing. By drawing connections between silent film and a subset of Hindi sound films (which has elsewhere been shown to be contoured by orality), this article will force a re‐evaluation of the etiological roots of some of silent cinema's traits, such as its propensity for melodrama and spectacularity. Further, it will posit that scholars need to think of early film no more in terms of image than in terms of an epistemically inflected (as opposed to merely aurally inflected) centrality of the mouth. Keywords: cinema of attractionsliteracymelodramaoralitysilent cinemavoice Notes 1. I borrow this concept of 'seeing voices' from Oliver Sacks, via Isabelle Raynaud (2001 Raynaud, I. 2001. "Dialogues in early silent sound screenplays: What actors really said". In The sounds of early cinema, Edited by: Abel, R. and Altman, R. 69–78. Bloomington, IN: Indiana University Press. [Google Scholar]). 2. Altman 2004 Altman, R. 2004. Silent film sound, New York: Columbia University Press. [Google Scholar], 6. 3. Quoted in Altman 2004 Altman, R. 2004. Silent film sound, New York: Columbia University Press. [Google Scholar], 193. 4. Quoted in Chion 1999 Chion, M. 1999. The voice in cinema, Edited by: Gorbman, C. New York: Columbia University Press. [Google Scholar], 6. 5. Chion 1999 Chion, M. 1999. 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