Overhearing Film Dialogue

Through informative discussions of dozens of classic and contemporary films—from Bringing Up Baby to Terms of Endearment, from Stagecoach to Reservoir Dogs--this lively book provides the first full-length study of the use of dialogue in ...

Author: Sarah Kozloff

Publisher: Univ of California Press

ISBN: 0520924029

Category: Performing Arts

Page: 332

View: 278

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Since the birth of cinema, film has been lauded as a visual rather than a verbal medium; this sentiment was epitomized by John Ford's assertion in 1964 that, "When a motion picture is at its best, it is long on action and short on dialogue." Little serious work has been done on the subject of film dialogue, yet what characters say and how they say it has been crucial to our experience and understanding of every film since the coming of sound. Through informative discussions of dozens of classic and contemporary films—from Bringing Up Baby to Terms of Endearment, from Stagecoach to Reservoir Dogs--this lively book provides the first full-length study of the use of dialogue in American film. Sarah Kozloff shows why dialogue has been neglected in the analysis of narrative film and uncovers the essential contributions dialogue makes to a film's development and impact. She uses narrative theory and drama theory to analyze the functions that dialogue typically serves in a film. The second part of the book is a comprehensive discussion of the role and nature of dialogue in four film genres: westerns, screwball comedies, gangster films, and melodramas. Focusing on topics such as class and ethnic dialects, censorship, and the effect of dramatic irony, Kozloff provides an illuminating new perspective on film genres.

Film Dialogue

Film Dialogue is the first anthology in film studies devoted to the topic of language in cinema, bringing together leading and emerging scholars to discuss the aesthetic, narrative, and ideological dimensions of film speech that have ...

Author: Jeff Jaeckle

Publisher: Columbia University Press

ISBN: 9780231850421

Category: Performing Arts

Page: 288

View: 995

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Film Dialogue is the first anthology in film studies devoted to the topic of language in cinema, bringing together leading and emerging scholars to discuss the aesthetic, narrative, and ideological dimensions of film speech that have largely gone unappreciated and unheard. Consisting of thirteen essays divided into three sections: genre, auteur theory, and cultural representation, Film Dialogue revisits and reconfigures several of the most established topics in film studies in an effort to persuade readers that "spectators" are more accurately described as "audiences," that the gaze has its equal in eavesdropping, and that images are best understood and appreciated through their interactions with words. Including an introduction that outlines a methodology of film dialogue study and adopting an accessible prose style throughout, Film Dialogue is a welcome addition to ongoing debates about the place, value, and purpose of language in cinema.

Engaging Dialogue

Examines the politics of female ship in relation to contemporary documentary practices

Author: Jennifer O'Meara

Publisher: Edinburgh University Press

ISBN: 9781474420648

Category: Performing Arts

Page: 224

View: 263

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Examines the politics of female ship in relation to contemporary documentary practices

Film Dialogue

Readers will benefit from Kozloff's overview of the literal and figurative functions of dialogue in chapter one of Overhearing Film Dialogue, but they will ...

Author: Jeff Jaeckle

Publisher: Columbia University Press

ISBN: 9780231165624

Category: Performing Arts

Page: 288

View: 674

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Film Dialogue is the first anthology in film studies devoted to the topic of language in cinema, bringing together leading and emerging scholars to discuss the aesthetic, narrative, and ideological dimensions of film speech that have largely gone unappreciated and unheard. Consisting of thirteen essays divided into three sections: genre, auteur theory, and cultural representation, Film Dialogue revisits and reconfigures several of the most established topics in film studies in an effort to persuade readers that "spectators" are more accurately described as "audiences," that the gaze has its equal in eavesdropping, and that images are best understood and appreciated through their interactions with words. Including an introduction that outlines a methodology of film dialogue study and adopting an accessible prose style throughout, Film Dialogue is a welcome addition to ongoing debates about the place, value, and purpose of language in cinema.

Robert Altman and the Elaboration of Hollywood Storytelling

Kozloff, Overhearing Film Dialogue. 14. Self, Altman's Subliminal Reality, 37, 38. 15. Self, Altman's Subliminal Reality, 37. 16. Kozloff, Overhearing Film ...

Author: Mark Minett

Publisher: Oxford University Press

ISBN: 9780197523841

Category: Performing Arts

Page: 448

View: 265

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Robert Altman and the Elaboration of Hollywood Storytelling reveals an Altman barely glimpsed in previous critical accounts of the filmmaker. This re-examination of his seminal work during the "Hollywood Renaissance" or "New Hollywood" period of the early 1970s (including M*A*S*H, Brewster McCloud, McCabe & Mrs. Miller, Images, The Long Goodbye, Thieves Like Us, California Split, and Nashville) sheds new light on both the films and the filmmaker, reframing Altman as a complex, pragmatic innovator whose work exceeds, but is also grounded in, the norms of classical Hollywood storytelling rather than someone who rejected those norms in favor of modernist art cinema. Its findings and approach hold important implications for the study of cinematic authorship. Largely avoiding thematic exegesis, it employs an historical poetics approach, robust functionalist frameworks, archival research, and formal and statistical analysis to demystify the essential features of the standard account of Altman's filmmaking history and profile-lax narrative form, heavy reliance on the zoom, sound design replete with overlapping dialogue, improvisational infidelity to the screenplay, and a desire to subvert based in his time in the training grounds of industrial filmmaking and filmed television. The book provides a clear example of how a filmmaker might work collaboratively and pragmatically within and across media institutions to elaborate upon their sanctioned practices and aims. We misunderstand Altman's work, and the creative work of Hollywood filmmakers in general, when we insist on describing innovation as opposition to institutional norms and on describing those norms as simply assimilating innovation.

Canadian Journal of Film Studies

OVERHEARING FILM DIALOGUE Sarah Kozloff Berkeley : University of
California Press , 2000 , 323 pp . non - English speech in American cinema , the
relationship between censorship and the evolution of speech styles , and
interdisciplinary ...

Author:

Publisher:

ISBN: STANFORD:36105121710086

Category: Motion pictures

Page:

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Engaging Dialogue

Cinematic Verbalism in American Independent Cinema Jennifer O'Meara ... breaks the fourth wall by speaking to the camera).12 In Overhearing Film Dialogue, ...

Author: Jennifer O'Meara

Publisher: Edinburgh University Press

ISBN: 9781474420631

Category: Performing Arts

Page: 408

View: 933

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Delves into the history of the ancient Greek word nomos to reveal the interdisciplinary depth of this term beyond its simplified meaning of 'law' or 'law-making'

Verse Voice and Vision

Kozloff, Overhearing Film Dialogue, 33–34. 6. Todd Berliner, “Hollywood Movie Dialogue and the 'Real Realism' of John Cassavetes,” Film Quarterly 52 (1999): ...

Author: Marlisa Santos

Publisher: Scarecrow Press

ISBN: 9780810892101

Category: Performing Arts

Page: 214

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This collection of essays explore the relationship between one of the world’s oldest art forms—poetry—and one of the world’s newest art forms—film. These essays include analyses of biopics of poets, films inspired by particular poems, cinematic representations of poets or poetic studies and the avant-garde phenomenon of the “poem-film.”

Dialogue across Media

... available at: https://itaaworld.org/ ta-associations [accessed 11 May 2015]. Kozloff, Sarah. 2000. Overhearing Film Dialogue, Berkeley: University ...

Author: Jarmila Mildorf

Publisher: John Benjamins Publishing Company

ISBN: 9789027266156

Category: Language Arts & Disciplines

Page: 296

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With chapters on social media, videogames and human-machine communication, Dialogue across Media provides a comprehensive overview of the role of dialogue in contemporary media. Drawing on the expertise of scholars and practitioners from multiple fields and disciplines, including screenwriters, literary critics, linguists and new media theorists, each chapter provides an in-depth analysis of dialogue in action. Together, these chapters demonstrate the unique energy and versatility that dialogic forms can offer artists and readers alike, and the special role that dialogue plays in helping us to understand the complexities and contradictions of human interaction. Dialogue across Media provides an essential resource for students and specialists in many fields concerned with dialogue, including language and literature, media and cultural studies, narratology and rhetoric.

Fictional Dialogue

Overhearing Film Dialogue. Berkeley: University of California Press. Kress, G. 2003. Literacy in the New Media Age. London: Routledge. Lacey, Nick. 2000.

Author: Bronwen Thomas

Publisher: U of Nebraska Press

ISBN: 9780803244511

Category: Literary Criticism

Page: 212

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Experimentation with the speech of characters has been hailed by Gärard Genette as ?one of the main paths of emancipation in the modern novel.? Dialogue as a stylistic and narrative device is a key feature in the development of the novel as a genre, yet it is also a phenomenon little acknowledged or explored in the critical literature. Fictional Dialogue demonstrates the richness and versatility of dialogue as a narrative technique in twentieth- and twenty-first-century novels by focusing on extended extracts and sequences of utterances. It also examines how different versions of dialogue may help to normalize or idealize certain patterns and practices, thereby excluding alternative possibilities or eliding ?unevenness? and differences. Bronwen Thomas, by bringing together theories and models of fictional dialogue from a wide range of disciplines and intellectual traditions, shows how the subject raises profound questions concerning our understanding of narrative and human communication. The first study of its kind to combine literary and narratological analysis with reference to linguistic terms and models, Bakhtinian theory, cultural history, media theory, and cognitive approaches, this book is also the first to focus in depth on the dialogue novel in the twentieth and twenty-first centuries and to bring together examples of dialogue from literature, popular fiction, and nonlinear narratives. Beyond critiquing existing methods of analysis, it outlines a promising new method for analyzing fictional dialogue.

Dialect in Film and Literature

Further reading Sarah Kozloff's Overhearing Film Dialogue (2000) provides an excellent introduction to thinking about the role of language in film, ...

Author: Jane Hodson

Publisher: Macmillan International Higher Education

ISBN: 9781137393944

Category: Literary Criticism

Page: 272

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What is a dialect? How are dialects represented in film and literature? How can they be analysed? In the first textbook to cover dialect representation in both film and literature, Jane Hodson explores why and how different varieties of English are used. In order to link the concepts to actual usage, illustrative examples of popular films, classic novels and poems are discussed throughout the text. Dialect in Film and Literature: • examines the key differences between the handling of dialect in literature and film • draws on recent work in linguistics to examine a range of topics, including metalanguage, identity and authenticity • includes useful teaching resources, such as exercises and suggestions for further reading Written for students of English language and literature, this is a lively introduction to the fascinating field of dialect representation.

Irish English as Represented in Film

( Kirk 1999 : 47 ) If there can be any doubt about that , then Sarah Kozloff's Overhearing Film Dialogue dramatically shows just to what extent film ...

Author: Shane Walshe

Publisher: Peter Lang

ISBN: 3631586825

Category: Literary Criticism

Page: 299

View: 346

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This study is the first of its kind to analyse the representation of Irish English in film. Using a corpus of 50 films, ranging from John Ford's The Informer (1935) to Lenny Abrahamson's Garage (2007), the author examines the extent to which Irish English grammatical, discourse and lexical features are present in the films and provides a qualitative analysis of the accents in these works. The authenticity of the language is called into question and discussed in relation to the phenomenon of the Stage Irishman.

An Introduction to Film Genres

An Introduction to Film Genres, written by leading film scholars specifically for undergraduates who are new to the study of film, provides an introduction that helps students see thirteen film genres in a new light---to help them identify ...

Author: Lester D. Friedman

Publisher: W W Norton & Company Incorporated

ISBN: 039393019X

Category: Literary Criticism

Page: 609

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An Introduction to Film Genres, written by leading film scholars specifically for undergraduates who are new to the study of film, provides an introduction that helps students see thirteen film genres in a new light---to help them identify the themes, iconography, and distinctive stylistic traits of each genre.

Reassessing Dubbing

“Transcribing Film Dialogue: From Orthographic to Prosodic Transcription.” In Analysing Audiovisual Dialogue. ... Overhearing Film Dialogue.

Author: Irene Ranzato

Publisher: John Benjamins Publishing Company

ISBN: 9789027262271

Category: Language Arts & Disciplines

Page: 287

View: 792

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Despite a long tradition of scholarship and the vast amount of dubbed audiovisual products available on the global market, dubbing is still relatively underrepresented in audiovisual research. The aim of this volume is to give dubbing research its due by showing that, far from being a doomed or somewhat declining form of AVT, it is being exploited globally in the most diverse and fruitful ways. The contributions to this collection take up the diverse strands that make up the field, to offer a multi-faceted assessment of dubbing on the move, embracing its important historical past as well as present and future developments, thus proving that dubbing has really come a long way and has not been less ready than other AVT modes to respond to the mood of the times. The volume will be of interest for scholars and students of translation studies, audiovisual translation, linguistics, film, television and game studies.

Locating the Voice in Film

In her landmark text on genre and language Overhearing Film Dialogue, Sarah Kozloff notes that sparseness of dialogue in no way discounts its ...

Author: Lecturer in Film and Hispanic Studies Tom Whittaker

Publisher: Oxford University Press

ISBN: 9780190261139

Category:

Page: 336

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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.

Television Dramatic Dialogue

Dramatic discourse: Dialogue as interaction in plays. London: Routledge. Hobson, Hobson 1982. ... Overhearing film dialogue. Berkeley, Calif.

Author: Kay Richardson

Publisher: Oxford University Press on Demand

ISBN: 9780195374056

Category: Language Arts & Disciplines

Page: 255

View: 103

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Television Dramatic Dialogue investigates dramatized dialogue and how it affects unscripted performances in the way people argue, confide, threaten, and otherwise engage each other.

The Music and Sound of Experimental Film

Kozloff, Sarah.Overhearing Film Dialogue. Berkeley: University of California Press, 2000. Maziere, Michael. “John Smith's Films: Reading the Visible”.

Author: Holly Rogers

Publisher: Oxford University Press

ISBN: 9780190469924

Category: Music

Page: 352

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This book explores music/sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investigate repertoires and artists from Europe and the USA through the critical lenses of synchronicity and animated sound, interrelations of experimentation in image and sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, re-mediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological, aesthetic, tropes in film media traversing the work of early pioneers such as Walther Ruttmann and Len Lye, through the mid-century innovations of Norman McLaren, Stan Brakhage, Lis Rhodes, Kenneth Anger, Andy Warhol, and studio collectives in Poland, to latter-day experimentalists John Smith and Bill Morrison, as well as the contemporary practices of Vjing.

Talkies Road Movies and Chick Flicks

... women are frequently silenced both within the diegetic world and non-diegetically through the filmic apparatus.6 Whereas in Overhearing Film Dialogue, ...

Author: Heidi Wilkins

Publisher: Edinburgh University Press

ISBN: 9781474406901

Category: Performing Arts

Page: 216

View: 755

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The representation of gender in film remains an intensely debated topic, particularly in academic considerations of US mainstream cinema where it is often perceived as perpetuating rigid, binary views of gender, and reinforcing patriarchal, dominant notions of masculinity and femininity. While previous scholarly discussion has focused on visual or narrative portrayals of gender, this book considers the ways that film sound "e; music, voice, sound effects and silence "e; is used to represent gender. Taking a socio-historical approach, Heidi Wilkins investigates a range of popular US genres including screwball comedy, the road movie and chick flicks to explore the ways that film sound can reinforce traditional assumptions about masculinity and femininity, impart ambivalent meanings to them, or even challenge and subvert the notion of gender itself. Case studies include His Girl Friday, Easy Rider and Bridesmaids.

From Silver Screen to Spanish Stage

The other functions of the extra dialogue are limited to a small number of those identified by Sarah Kozloff in Overhearing Film Dialogue.

Author: Stuart Nishan Green

Publisher: University of Wales Press

ISBN: 9781783164653

Category: Social Science

Page: 224

View: 404

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This is the first book-length English-language study of a group of five artists closely linked with the Spanish avant-garde in the 1920s and 1930s, now known as the ‘Other’ Generation of 27. In the same way that their contemporaries of the celebrated Generation of 27 (which included Federico Garcia Lorca) attempted a revolution of the arts through poetry inspired by European modernism, the ‘Other’ Generation of 27 attempted to renovate Spanish humour, first in prose, and then in the theatre and cinema. This book demonstrates how these humorists drew on the humour of Chaplin, Keaton, Lubitsch and the Marx Brothers for their stage comedy, and how they stretched the limits of the stage at the time by incorporating cinematic techniques, such as flashback, voice-overs and montage, in their search for new dramatic forms.

The Best Years of Our Lives

William Wyler's The Best Years of Our Lives (1946) tells the story of three veterans returning from World War II and adjusting to civilian life in a manner unusual for classical Hollywood cinema, with melodrama leavened by authentic detail, ...

Author: Sarah Kozloff

Publisher: Bloomsbury Publishing

ISBN: 9781838718480

Category: Performing Arts

Page: 128

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William Wyler's The Best Years of Our Lives (1946) tells the story of three veterans returning from World War II and adjusting to civilian life in a manner unusual for classical Hollywood cinema, with melodrama leavened by authentic detail, personal memories and a fierce desire to capture its historical moment. Sarah Kozloff's illuminating study of the film traces the contribution of Wyler (himself injured while serving in the US Air Force), Robert Sherwood's screenplay, Gregg Toland's deep-focus cinematography, Hugo Friedhofer's award-winning score, and the ensemble cast of Myrna Loy, Fredric March, Dana Andrews, Teresa Wright and Harold Russell. The film's poignant message spoke to American audiences reeling from the end of the conflict and the bumpy transition to peace: producer Samuel Goldwyn received hundreds of letters from ex-servicemen about how accurately his production had captured their experiences. Despite winning nine Academy Awards, Best Years was soon engulfed in political conflict from both the right and the left. Disagreements about the film's politics foreshadowed HUAC's anti-Communist investigations and the fracturing of the Hollywood community that culminated in the collapse of the studio system. Sarah Kozloff's discussion of the film's development, production and reception history draws on archival research to shed new light on our understanding of this much-loved movie, and to bring The Best Years of Our Lives back where it belongs: in our collections, in our libraries, and in our hearts.