Bibliography
Altman, Rick, ed. Cinema/Sound. vol. 60, Yale French Studies. New Haven: Yale University Press, 1980.
Altman, Rick. “Introduction.” Yale French Studies no. 60 (1980).
Altman, Rick. “Introduction: Four and a Half Film Fallacies.” In Sound Theory, Sound Practice, edited by Rick Altman, 35-45. New York; London: Routledge, 1992.
Altman, Rick.“The Material Heterogeneity of Recorded Sound.” In Sound Theory, Sound Practice, edited by Rick Altman, 15-31. New York; London: Routledge, 1992.
Altman, Rick. Silent Film Sound. New York: Columbia University Press, 2004.
Altman, Rick, ed. Sound Theory, Sound Practice. New York; London: Routledge, 1992.
Arnheim, Rudolf. “A New Laocoön: Artistic Composites and the Talking Film.” In Film Sound: Theory and Practice, edited by Elisabeth Weis and John Belton, 112-15. New York: Columbia University Press, 1985.
Avron, Dominique. “Remarques sur le travail du son dans la production cinématographique standardisée.” In Cinéma: théorie, lectures, edited by Dominique Noguez, 207-218. Paris: Klincksieck, 1978.
Bailblé, Claude. “Programmation de l’écoute (1).” Les Cahiers du cinéma no. 292, (1978): 54-59.
Bailblé, Claude. “Programmation de l’écoute (2).” Les Cahiers du cinéma no.293, (1978): 5-12.
Bailblé, Claude. “Programmation de l’écoute (3).” Les Cahiers du cinéma no. 297 (1979): 45-54.
Bailblé, Claude. “Programmation de l’écoute (4).” Les Cahiers du cinéma no. 299, (1979): 17-27.
Baudry, Jean-Louis. “Le Dispositif: approches métapsychologiques de l’impression de réalité.” Communications no. 23 (1975): 56-72.
Beck, Jay and Tony Grajeda, eds. Lowering the Boom: Criticial Studies in Film Sound. Urbana and Chicago: University of Illinois Press, 2009.
Boillat, Alain. Du bonimenteur à la voix-over: voix-attraction et voix-narration au cinéma. Lausanne: Editions Antipodes, 2007.
Bonitzer, Pascal. Le Regard et la voix. Paris: 10: 18, 1976.
Châteauvert, Jean. Des mots à l’image: la voix over au cinéma. Québec; Paris: Nuit blanche éditeur; Méridiens Klincksieck, 1996.
Chevassu, François. “Le cinéma est sonore.” La Revue du cinéma/Image et son, no. 215 (1968): 10-40.
Chion, Michel. “100 concepts pour penser et décrire le cinéma sonore.” <http://www.michelchion.com/v1/index.php?option=com_content&task=view&id=45&Itemid=60>, accessed 06/07/2013.
Chion, Michel. L’Audio-vision: son et image au cinéma. 2nd ed. Paris: Armand Colin, 1997.
Chion, Michel. La Voix au cinéma. Paris: Cahiers du Cinéma, Éditions de l’Étoile, 1982.
Chion, Michel. Le Son au cinéma. Nouvelle édition revue et corrigée ed. Paris: Cahiers du cinéma, 1992.
Clair, René. “The Art of Sound.” In Film Sound: Theory and Practice, edited by Elisabeth Weis and John Belton, 92-95. New York: Columbia University Press, 1985.
Doane, Mary Ann. “Ideology and the Practice of Sound Editing and Mixing.” In Film Sound: Theory and Practice, edited by Elisabeth Weis and John Belton, 54-62. New York: Columbia University Press, 1985.
Doane, Mary Ann. The Desire to Desire: The Woman’s Film of the 1940s. Bloomington: Indiana University Press, 1987.
Doane, Mary Ann. “The Voice in the Cinema: The Articulation of Body and Space.” Yale French Studies no. 60 (1980): 33-50.
Eisenstein, Sergei, Vsevolod Pudovkin, and Grigori Alexandrov. “A Statement.” In Film Sound: Theory and Practice, edited by Elisabeth Weis and John Belton, 83-85. New York: Columbia University Press, 1985.
Gorbman, Claudia. “Bibliography on Sound in Film.” Yale French Studies 60, (1980): 269-86.
Harper, Graeme, Ruth Doughty and Jochen Eisentraut, eds. Sound and Music in Film and Visual Media: An Overview. New York: Continuum, 2009.
Jost, François. “Un Continent perdu: le son à la télévision.” In Le Son en perspective: nouvelles recherches/New Perspectives in Sound Studies, edited by Dominique Nasta and Didier Huvelle. Bruxelles: P.I.E. - Peter Lang, 2004.
Jost, François. De quoi les séries américaines sont-elles le symptôme ? Paris: CNRS Editions, 2011.
Jullier, Laurent. “Être devant/Être dedans. Son et parole à la télévision d’un point de vue cognitiviste.” In Téléparoles, edited by Guillaume Soulez, 8. Séminaire INA/Université de Metz, 2000.
Jullier, Laurent. L’Analyse de séquences. Paris: Armand Colin, 2011.
Jullier, Laurent. Les Sons au cinéma et à la télévision: précis d’analyse de la bande-son. Paris: Armand Colin, 1995.
Kozloff, Sarah. Invisible Storytellers: Voice-Over Narration in American Fiction Film. Berkeley: University of California Press, 1988.
Kracauer, Siegfried. Theory of Film: The Redemption of Physical Reality. Princeton, N.J.: Princeton University Press, 1997.
Lawrence, Amy. Echo and Narcissus: Women’s Voices in Classical Hollywood Cinema. Berkeley and Los Angeles: University of California Press, 1991.
Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Screen 16, no. 3 (1975): 6-18.
Odin, Roger. “Approche de la relation images-sons en termes de communication”, L’analyse sémiologique des films, PhD dissertation, EHESS, Paris: 1982: vol. 1, 162-233.
Odin, Roger. De la fiction. Bruxelles: De Boeck, 2000.
Percheron, Daniel, and Marcia Butzel. “Sound in Cinema and its Relationship to Image and Diegesis.” Yale French Studies no. 60 (1980): 16-23.
Restivo, Angelo. “Recent Approaches to Psychoanalytic Sound Theory.” Iris 27, (1999): 135-41.
Rosolato, Guy. La Relation d’Inconnu. Paris: Gallimard, 1978.
Schaeffer, Pierre. “L’Élément non visuel au cinéma (1): analyse de la 'bande-son'.” La Revue du Cinéma no. 1 (1946): 45-48.
Schaeffer, Pierre. “L’Élément non visuel au cinéma (2): conception de la musique.” La Revue du Cinéma no. 2 (1946): 62-65.
Schaeffer, Pierre. “L’Élément non visuel au cinéma (3): psychologie du rapport vision-audition.” La Revue du Cinéma no. 3 (1946): 51-54.
Sergi, Gianluca. The Dolby Era: Film sound in contemporary Hollywood. Manchester and New York: Manchester University Press, 2004.
Shingler, Martin. “Fasten Your Seatbelts and Prick Up Your Ears: The Dramatic Human Voice in Film.” Scope 5 (2006) <http://www.scope.nottingham.ac.uk/article.php?issue=5&id=128> accessed 05/08/2013.
Silverman, Kaja. “A Voice to Match: The Female Voice in Classic Cinema.” Iris 3, no. 1 (1985): 57-69.
Silverman, Kaja. “Dis-Embodying the Female Voice.” In Re-Vision: Essays in Feminist Film Criticism, edited by Mary Ann Doane, Patricia Mellencamp and Linda Williams, 131-49. Frederick, Md: University Publications of America, in association with the American Film Institute, 1984.
Silverman, Kaja. The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Bloomington: Indiana University Press, 1988.
Sjogren, Britta. Into the Vortex—Female Voice and Paradox in Film. Urbana and Chicago: University of Illinois Press, 2006.
Spottiswoode, Raymond. A Grammar of the Film: An Analysis of Film Technique: University of California Press, 1950.
Vale, Eugene. The Technique of Screen and Television Writing. Englewood Cliffs, NJ: Prentice Hall, 1982.
Vasse, Denis. L’Ombilic et la voix: Deux enfants en analyse. Paris: Éditions du Seuil, 1974.
Weis, Elisabeth, and John Belton, eds. Film Sound: Theory and Practice. New York: Columbia University Press, 1985.
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Notes
On this topic, see Rick Altman, Silent Film Sound (New York: Columbia University Press, 2004).
For an overview about voice in films not restricted to the voice over and with an emphasis on the physical aspect of sound, see Martin Shingler, “Fasten Your Seatbelts and Prick Up Your Ears: The Dramatic Human Voice in Film,” Scope 5 (2006).
In sound studies, the two most developed areas of research concern film music and the transition from silent to sound film. For a bibliography about these topics see Claudia Gorbman, "Bibliography on Sound in Film," Yale French Studies 60 (1980).
Extracts from many of these early writings on film sound can be found in Elisabeth Weis and John Belton, eds, Film Sound: Theory and Practice (New York: Columbia University Press, 1985).
René Clair, "The Art of Sound," in Elisabeth Weis and John Belton, Film Sound: Theory and Practice.
Sergei Eisenstein, Vsevolod Pudovkin, and Grigori Alexandrov, "A Statement," in Weis and Belton, Film Sound: Theory and Practice.
Rudolf Arnheim, "A New Laocoön: Artistic Composites and the Talking Film," in Weis and Belton, Film Sound: Theory and Practice.
Rick Altman, "Introduction: Four and a Half Film Fallacies," in Rick Altman, ed, Sound Theory, Sound Practice (New York; London: Routledge, 1992), 14.
Siegfried Kracauer, Theory of Film: The Redemption of Physical Reality (Princeton, N.J.: Princeton University Press, 1997), 103.
Jean-Louis Baudry, "Le dispositif: approches métapsychologiques de l’impression de réalité," Communications, no. 23 (1975): 61. The original reads: "en complétant la séance de projection par l’audition, en montrant en quelque sorte la nécessité de toucher le plus grand nombre de sens possibles, en tout cas les deux principaux, il paraît bien répondre à la nécessité de redoubler la réalité de la manière la plus exacte possible, de rendre son artifice autant qu’il se peut ressemblant."
Raymond Spottiswoode, A Grammar of the Film: An Analysis of Film Technique (Berkeley: University of California Press, 1950), 48-49.
Pierre Schaeffer, "L’Elément non visuel au cinéma (1): analyse de la "bande-son"," La Revue du Cinéma, no. 1 (1946); "L’Elément non visuel au cinéma (2): conception de la musique," La Revue du Cinéma, no. 2 (1946); "L’Elément non visuel au cinéma (3): psychologie du rapport vision-audition," La Revue du Cinéma, no. 3 (1946).
On industrial production of film sound see Dominique Avron, “Remarques sur le travail du son dans la production cinématographique standardisée,” in Dominique Noguez, ed, Cinéma: théorie, lectures (Paris: Klincksieck, 1978).
On a side note, Schaeffer nevertheless proved quite forward-looking in his calls for film scholars and psychologists to work on sensations.
On this topic see Gianluca Sergi, The Dolby Era: Film Sound in Contemporary Hollywood (Manchester and New York: Manchester University Press, 2004).
Some pioneers defended the importance of film sound earlier, thus foreshadowing the trend of the following decades. See for instance François Chevassu, “Le cinéma est sonore”, La Revue du cinéma/Image et son, no. 215 (1968).
Claude Bailblé, "Programmation de l’écoute (1)," Les Cahiers du cinéma no. 292 (1978); "Programmation de l’écoute (2)," Les Cahiers du cinéma no. 293 (1978); "Programmation de l’écoute (3)," Les Cahiers du cinéma no. 297 (1979); "Programmation de l’écoute (4)," Les Cahiers du cinéma no. 299, (1979).
Rick Altman, ed, Cinema/Sound, vol. 60, Yale French Studies (New Haven: Yale University Press, 1980).
Michel Chion, L’Audio-vision: son et image au cinéma, 2nd ed. (Paris: Armand Colin, 1997).
Michel Chion, "100 concepts pour penser et décrire le cinéma sonore," <http://www.michelchion.com/v1/index.php?option=com_content&task=view&id=45&Itemid=60>, accessed 06/07/2013.
Altman, Sound Theory, Sound Practice.
Edited by Elisabeth Weis and John Belton in 1985, Film Sound: Theory and Practice is the other main reader on the topic. It brings together various generations of critics and therefore shows the evolution of sound theory over fifty years. It aims at redressing “two imbalances, one aesthetic, the other historical” in the study of film sound (Weis and Belton, ix). To do so, it develops the study of sound production.
Altman, Sound Theory, Sound Practice, 1.
Jay Beck and Tony Grajeda, eds, Lowering the Boom: Critical Studies in Film Sound (Urbana and Chicago: University of Illinois Press, 2009), 4.
Still today, screenwriting manuals recommend avoiding the voiceover since “One picture is worth a thousand words.” Eugene Vale, The Technique of Screen and Television Writing. (Englewood Cliffs, NJ: Prentice Hall, 1982)
Most English-speaking researchers choose the term voice-over as a generic term. In French, the traditional expression “voix off” tends to be replaced by “voix over,” “off” being reserved for a voice whose source is in the diegesis but outside the frame.
Daniel Percheron and Marcia Butzel, "Sound in Cinema and its Relationship to Image and Diegesis," Yale French Studies, no. 60 (1980): 16.
Percheron and Butzel, "Sound in Cinema," 20.
Percheron and Butzel, "Sound in Cinema," 23.
Sarah Kozloff, Invisible Storytellers: Voice-Over Narration in American Fiction Film (Berkeley: University of California Press, 1988).
Kozloff, Invisible Storytellers, 45.
Michel Chion, La Voix au cinéma (Paris: Cahiers du Cinéma, Éditions de l’Étoile, 1982).
Chion’s term of the "acousmaton" comes from the word "acousmatique," which was revived by Pierre Schaeffer in the 1950s. Here it is carefully defined and has been taken up by various critics.
Michel Chion, "100 concepts pour penser et décrire le cinéma sonore," <http://www.michelchion.com/v1/index.php?option=com_content&task=view&id=45&Itemid=60>, accessed 06/07/2013.
In a less systematic analysis on voice in films, Pascal Bonitzer distinguishes between two types of voice-off: the “off” voice, the voice that is outside the frame, and the voice that cannot communicate with what is shown on screen. The filmmaker and theoretician associates a specific power to the latter, that of controlling the image from a transcendent place. Pascal Bonitzer, Le Regard et la voix (Paris: 10-18, 1976), 31-33
Mary Ann Doane, "The Voice in the Cinema: The Articulation of Body and Space," Yale French Studies, no. 60 (1980).
Kaja Silverman, "Dis-Embodying the Female Voice," in Mary Ann Doane, Patricia Mellencamp, and Linda Williams, eds, Re-Vision: Essays in Feminist Film Criticism (Frederick, Md: University Publications of America, in association with the American Film Institute, 1984).
Kaja Silverman, The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema (Bloomington: Indiana University Press, 1988).
Chion, "100 Concepts pour penser et décrire le cinéma sonore."
Michel Chion, Le Son au cinéma, nouvelle édition revue et corrigée (Paris: Cahiers du cinéma, 1992).
Alain Boillat, Du bonimenteur à la voix-over: voix-attraction et voix-narration au cinéma (Lausanne: Editions Antipodes, 2007).
Britta Sjogren, Into the Vortex—Female Voice and Paradox in Film (Urbana and Chicago: University of Illinois Press, 2006).
Sjogren, Into the Vortex, 8.
Sjogren, Into the Vortex, 9.
Chion, Le Son au cinéma, 34.
Laurent Jullier, L’Analyse de séquences (Paris: Armand Colin, 2011), 119-25.
For additional references on psychoanalytic approaches to film sound in the 1990s see Angelo Restivo, "Recent Approaches to Psychoanalytic Sound Theory," Iris 27 (1999).
Bailblé, "Programmation de l’écoute (1)."
Chion, La Voix au cinéma.
Restivo, "Recent Approaches to Psychoanalytic Sound Theory," 136.
Guy Rosolato, La Relation d’Inconnu (Paris: Gallimard, 1978).
Denis Vasse, L’Ombilic et la voix: Deux enfants en analyse (Paris: Editions du Seuil, 1974).
Chion, La Voix au cinéma, 78. The original reads: "Le cri de l’homme délimite un territoire, le cri de la femme renvoie à l’illimité, il avale tout en lui-même, il est centripète et fascinant, alors que le cri de l’homme est centrifuge et structurant. Le point de cri est comme le point de butée des mots, la sortie de l’être."
Restivo, "Recent Approaches to Psychoanalytic Sound Theory," 137.
Laura Mulvey, "Visual Pleasure and Narrative Cinema," Screen 16, no. 3 (1975).
Doane, "The Voice in the Cinema."
Mary Ann Doane, "Ideology and the Practice of Sound Editing and Mixing," in Elisabeth Weis and John Belto, eds, Film Sound: Theory and Practice (New York: Columbia University Press, 1985).
Mary Ann Doane, The Desire to Desire: The Woman’s Film of the 1940s (Bloomington: Indiana University Press, 1987).
Doane, The Desire to Desire, 21.
Doane, The Desire to Desire, 8.
Silverman, The Acoustic Mirror.
Silverman, The Acoustic Mirror, ix.
Silverman, The Acoustic Mirror, ix.
Kaja Silverman, "A Voice to Match: The Female Voice in Classic Cinema," Iris 3, no. 1 (1985): 60.
For a thorough criticism of Silverman’s Acoustic Mirror, see Sjogren, Into the Vortex, who claims that Silverman remains trapped by a visual bias that sees “the image as primary and the voice as, in a sense, its prisoner” (14).
Altman, "Introduction."
Altman, "Introduction," 39.
Altman, "Introduction," 39.
Sjogren, Into the Vortex, 3-4.
Sjogren, Into the Vortex, 61.
Amy Lawrence, Echo and Narcissus: Women’s Voices in Classical Hollywood Cinema (Berkeley and Los Angeles: University of California Press, 1991).
Lawrence, Echo and Narcissus, 29.
Lawrence, Echo and Narcissus, 32.
Rick Altman, "The Material Heterogeneity of Recorded Sound," in Altman, Sound Theory, Sound Practice, 15.
Altman, Sound Theory, Sound Practice, 7.
Altman, Sound Theory, Sound Practice, 9.
The semio-pragmatic approach is defined by Roger Odin as a heuristic model that assumes a text is produced in a two-fold process: in the space of production and in the space of reception. This approach was outlined in Odin’s PhD dissertation published in 1982 “Approche de la relation images-sons en termes de communication”, L’Analyse sémiologique des films. PhD dissertation, EHESS. It is explained in further details in De la fiction (Bruxelles: De Boeck, 2000).
Jean Châteauvert, Des mots à l’image: la voix over au cinéma (Québec; Paris: Nuit blanche éditeur; Méridiens Klincksieck, 1996).
Boillat, Du bonimenteur à la voix-over.
Boillat, Du bonimenteur à la voix-over, 498. The original reads: "Ainsi les régimes vocaux identifiés dans ce travail permettent à mon sens de distinguer les principaux domaines d’application de la voix-over, ainsi que des procédés plus spécifiques à l’intérieur de ceux-ci: le doublage, la post-synchronisation de films d’animation et les boîtes vocales relèvent de la voix-action, l’animation radio et la publicité de la voix-attraction, les films industriels, CD-ROM et jeux vidéo de la voix-narration, alors que d’autres productions se situent entre ces deux dernières (les bandes-annonces, les sites Web, etc.)."
François Jost, "Un continent perdu: le son à la télévision," in Dominique Nasta and Didier Huvelle, ed., Le Son en perspective: nouvelles recherches/New Perspectives in Sound Studies (Bruxelles: P.I.E. - Peter Lang, 2004).
François Jost, De quoi les séries américaines sont-elles le symptôme ? (Paris: CNRS Editions, 2011), 37.
Laurent Jullier, Les Sons au cinéma et à la télévision: précis d’analyse de la bande-son (Paris: Armand Colin, 1995), 111.
Laurent Jullier, "Etre devant/Etre dedans. Son et parole à la télévision d’un point de vue cognitiviste," in Guillaume Soulez, ed, Téléparoles (Séminaire INA/Université de Metz, 2000).
See Graeme Harper, Ruth Doughty and Jochen Eisentraut, eds, Sound and Music in Film and Visual Media: An Overview (New York: Continuum, 2009). This impressive volume of over 800 pages includes almost fifty essays, whose diversity testifies to the dynamism of the field. These notably include a contribution on music in videogames, another on the semiotics of the voice, one on the figure of the sound designer, several essays on sound in television (fiction, reality-TV, news…) as well as many more on the various uses of sound in cinema.
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