What does it mean to exist, in our experience of cinema, according to listening? How do sound and 'noise' reconfigure relations between spectators and screens, and by extension, spectators and their worlds? How do films raise questions about the ethics and politics of listening to different bodies?
Resonant Bodies in Contemporary European Art Cinema answers these questions through an analysis of films by Catherine Breillat, Gaspar Noe, Tony Gatlif, Arnaud des Pallieres, Lars von Trier and Peter Strickland. These post-millennial European directors have worked with sound in ways that resist the full-definition and perfect hearing offered by Dolby technology. Instead, they have privileged 'noise' - sounds that take us to the limit of what we can hear - in a move that foregrounds the body on screen and constructs spectators as listening bodies.
Rezensionen / Stimmen
This film-philosophical foray into a range of fascinating sonic problems-the aesthetics of volume, Foley as a formal restraint, violence and vibration, the nonhuman dimension of rustling-compellingly models the book's thesis that listening is a radical mode of attention, and that deep attention is a form of thinking itself. -- Eugenie Brinkema, author of Life-Destroying Diagrams Taking us on a thrilling journey through sound, Emilija Talijan explores what it means to become 'all ears' in the experience of film. With eloquence and erudition, she articulates new critical perspectives on noise and listening, making this essential reading within both film and sound studies. An altogether exquisite book. -- Sarah Cooper, King's College London Talijan's descriptions of the [referenced films] events and her respective application of "the philosopher's ear" are apt to engage the mind and bend it toward a new form of engagement with cinema [...] College students would do well to engage with Talijan's work and will feel rewarded to be exposed to her thought-provoking examination of film's understated depth of noise and the way it resonates with(out) us. By the end of Talijan's work, you should be all ears. -- Nate Baker * Film Matters * Talijan's monograph contributes greatly to the still overlooked study of sound in cinema. -- Cait Murphy * Studies in European Cinema *
Sprache
Verlagsort
Zielgruppe
Produkt-Hinweis
Broschur/Paperback
Klebebindung
Illustrationen
21 black and white illustrations
Maße
Höhe: 233 mm
Breite: 152 mm
Dicke: 11 mm
Gewicht
ISBN-13
978-1-4744-8346-9 (9781474483469)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Dr Emilija Talijan is a Postdoctoral Research Fellow at St John's College, Oxford
Autor*in
Postdoctoral Research FellowUniversity of Oxford
List of IllustrationsAcknowledgements
Introduction
PART I: THE UNLISTENABLE
1. The Body at Close Range: Volume and The Unlistenable in Catherine Breillat's Anatomy Of Hell (2004)
2. Sonic Subjection: Gaspar Noe's Irreverisble (2004) and the Dystopian Limits of the Resonant Body
PART II: MIGRATORY NOISE
3. A Stranger Everywhere: The echo-monde of Tony Gatlif's Exiles (2004)
4. Feedback, Asynchronicity and Sonic Sociabilities: Arnaud Des Pallieres's Adieu (2004)
PART III: NONHUMAN NOISE
5. Listening at the Limit: Nonhuman Noise in Lars von Trier's Antichrist (2009)
6. Listening to Things: Foley as 'Alien Phenomenology' and Peter Strickland's Berberian Sound Studio (2012)
Conclusion
BibliographyFilmographyIndex
