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: 157

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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.

Overhearing Film Dialogue

Or the listener's identification can be placed with the overhearing child.... I would simply suggest here that overhearing is a fundamental experience with profound implications for films. If we consider the film-going experience to be ...

Author: Sarah Kozloff

Publisher: Univ of California Press

ISBN: 9780520221383

Category: Performing Arts

Page: 323

View: 667

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Through informative discussion of dozens of classic and contemporary films - from "Bringing Up Baby" to "Terms of Endearment", from "Stagecoach" to "Reservoir Dogs"--This text provides a full-length study of the use of dialogue in American film.

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: 611

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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: 813

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

Robert Altman and the Elaboration of Hollywood Storytelling

16. Kozloff, Overhearing Film Dialogue, 33. 17. Kozloff, Overhearing Film Dialogue, 36. 18. Kozloff, Overhearing Film Dialogue, 41. 19. Self, Altman's Subliminal Reality, 32. 20. Tomlinson Holman, Sound for Film and Television, 2nd ed.

Author: Mark Minett

Publisher: Oxford University Press

ISBN: 9780197523841

Category: Performing Arts

Page: 448

View: 150

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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.

Engaging Dialogue

For Gerrig and Prentice, the skills that individuals require to understand films are the same as those acquired through ... for example, when a character 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: 218

View: 310

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O'Meara highlights how speech can be central to cinema without overshadowing its medium-specific components, and demonstrates how indie dialogue can instead hinge on an idea of cinematic verbalism.

American Eccentric Cinema

11 Sarah Kozloff, Overhearing Film Dialogue ( Berkeley : University of California Press , 2000 ), 23 . 12 Todd Berliner , “ Killing the Writer: Movie Dialogue Conventions and John Cassavetes ,” in Film Dialogue , ed.

Author: Kim Wilkins

Publisher: Bloomsbury Publishing USA

ISBN: 9781501336935

Category: Performing Arts

Page: 224

View: 352

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Since the late 1990s a new language has emerged in film scholarship and criticism in response to the popularity of American directors such as Wes Anderson, Charlie Kaufman, and David O. Russell. Increasingly, adjectives like 'quirky', 'cute', and 'smart' are used to describe these American films, with a focus on their ironic (and sometimes deliberately comical) stories, character situations and tones. Kim Wilkins argues that, beyond the seemingly superficial descriptions, 'American eccentric cinema' presents a formal and thematic eccentricity that is distinct to the American context. She distinguishes these films from mainstream Hollywood cinema as they exhibit irregularities in characterization, tone, and setting, and deviate from established generic conventions. Each chapter builds a case for this position through detailed film analyses and comparisons to earlier American traditions, such as the New Hollywood cinema of the 1960s and 1970s. American Eccentric Cinema promises to challenge the notion of irony in American contemporary cinema, and questions the relationship of irony to a complex national and individual identity.

Surveillance in Asian Cinema

Overhearing Film Dialogue Behind the Opera in 2046 Before listening to the sonic secrets in In the Mood for Love, I want to unpack the gramophone scene from Wong's later film 2046 (2004) in which hotel manager Mr. Wang plays a ...

Author: Karen Fang

Publisher: Routledge

ISBN: 9781317298809

Category: Performing Arts

Page: 284

View: 516

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Critical theory and popular wisdom are rife with images of surveillance as an intrusive, repressive practice often suggestively attributed to eastern powers and opposed to western liberalism. Hollywood-dominated global media has long promulgated a geopoliticized east-west axis of freedom vs. control. This book focuses on Asian and Asia-based films and cinematic traditions obscured by lopsided western hegemonic discourse and—more specifically—probes these films’ treatments of a phenomenon that western film often portrays with neo-orientalist hysteria. Exploring recent and historical movies made in post-social and anti-Communist societies such as China, Hong Kong, Taiwan, Vietnam and South Korea, the book picks up on the political and economic concerns implicitly underlying Sinophobic and anti-Communist Asian images in Hollywood films while also considering how these societies and states depict the issues of centralization, militarization and technological innovation so often figured as distinctive of the difference between eastern despotism and western liberalism.

Dialogue across Media

Dialogues with/and Great Books: The Dynamics of Canon Formation. ... Imaginary Dialogues in American Literature and Philosophy: Beyond the Mainstream. Heidelberg: Winter. Kozloff, Sarah. 2000. Overhearing Film Dialogue.

Author: Jarmila Mildorf

Publisher: John Benjamins Publishing Company

ISBN: 9789027266156

Category: Language Arts & Disciplines

Page: 296

View: 745

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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.

Verse Voice and Vision

Sarah Kozloff, Overhearing Film Dialogue (Berkeley: University of California Press, 2000). 5. Kozloff, Overhearing Film Dialogue, 33–34. 6. Todd Berliner, “Hollywood Movie Dialogue and the 'Real Realism' of John Cassavetes,” Film ...

Author: Marlisa Santos

Publisher: Scarecrow Press

ISBN: 9780810892101

Category: Performing Arts

Page: 214

View: 119

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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.”

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, particularly the introduction and first three chapters. Bordwell and Thompson's textbook ...

Author: Jane Hodson

Publisher: Macmillan International Higher Education

ISBN: 9781137393944

Category: Literary Criticism

Page: 272

View: 707

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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 dialogue differs from spontaneous everyday speech . Thug 2 : On your ways .

Author: Shane Walshe

Publisher: Peter Lang

ISBN: 3631586825

Category: Literary Criticism

Page: 299

View: 247

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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.

Reassessing Dubbing

“Transcribing Film Dialogue: From Orthographic to Prosodic Transcription. ... “A Phraseological Approach to Film Dialogue: Film Stylistics Revisited.” Yearbook of Phraseology 2: 137–163. ... Overhearing Film Dialogue.

Author: Irene Ranzato

Publisher: John Benjamins Publishing Company

ISBN: 9789027262271

Category: Language Arts & Disciplines

Page: 287

View: 230

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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.

Now a Major Motion Picture

Sarah Kozloff's valuable book Overhearing Film Dialogue reminds us that the common assertion , which Kazan himself upheld , 28 that film emphasizes image and theater dialogue is unhelpful . The point is more that , as Bazin argued ...

Author: Christine Geraghty

Publisher: Rowman & Littlefield

ISBN: 0742538214

Category: Literary Criticism

Page: 223

View: 855

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Now a Major Motion Picture is a unique look at the many sources, literary and otherwise, that influence film adaptations. Christine Geraghty subverts the idea that film adaptations of novels and plays must be faithful to the original texts. She is more interested in how, while a film reflects its literary source, it also invites comparisons to our memories and associations with other versions. Geraghty looks at a variety of adaptations, from the works of Jane Austen and Tennessee Williams to Brokeback Mountain and the adaptation of a setting, historical New York City.

Locating the Voice in Film

Sarah Kozloff's Overhearing Film Dialogue (2000) offers an invaluable account into the intricacies of film dialogue and its relationship to narrative across a range of Hollywood genres, while Maria DiBattista's Fast-Talking Dames (2000) ...

Author: Lecturer in Film and Hispanic Studies Tom Whittaker

Publisher: Oxford University Press

ISBN: 9780190261139

Category:

Page: 336

View: 656

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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.

The Music and Sound of Experimental Film

Overhearing Film Dialogue. Berkeley: University of California Press, 2000. Maziere, Michael. “John Smith's Films: Reading the Visible”. Undercut 10– 11 (1983): 40–44. Nichols, Bill. “The Voice of Documentary”. Film Quarterly 36, no.

Author: Holly Rogers

Publisher: Oxford University Press

ISBN: 9780190469924

Category: Music

Page: 352

View: 738

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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.

Analysing the Screenplay

Film dialogue is a complex mix of the everyday and the poetic; it creates the illusion of being natural by using colloquial words yet its actual ... Kozloff, S. (2000) Overhearing Film Dialogue, Berkeley: University of California press.

Author: Jill Nelmes

Publisher: Routledge

ISBN: 9781136912450

Category: Performing Arts

Page: 288

View: 185

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Analysing the Screenplay highlights the screenplay as an important form in itself, as opposed to merely being the first stage of the production process.

Talkies Road Movies and Chick Flicks

feminist approach elucidates the ways in which women are frequently silenced both within the diegetic world and non-diegetically through the filmic apparatus.6 Whereas in Overhearing Film Dialogue, Sarah Kozloff has conversely argued ...

Author: Heidi Wilkins

Publisher: Edinburgh University Press

ISBN: 9781474406901

Category: Performing Arts

Page: 216

View: 264

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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.

Pragmatics of Fiction

2013b Film Dialogue. New York: Columbia University Press. Kozloff, Sarah 2000 Overhearing Film Dialogue. Ewing, NJ: University of California Press. Kress, Günther and Theo van Leeuwen 2006 Reading Images: The Grammar of Visual Design, ...

Author: Miriam A. Locher

Publisher: Walter de Gruyter GmbH & Co KG

ISBN: 9783110431094

Category: Language Arts & Disciplines

Page: 628

View: 833

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Pragmatics of Fiction provides systematic orientation in the emerging field of studying pragmatics with/in fictional data. It provides an authoritative and accessible overview of this versatile new field in its methodological and theoretical richness. Giving center stage to fictional language allows scholars to review key concepts in sociolinguistics such as genre, style, voice, stance, dialogue, participation structure or features of orality and literariness. The contributors explore language as one of the creative tools to craft story worlds and characters by drawing on concepts such as regional, social and ethnic language variation, as well as multilingualism. Themes such as emotion, taboo language or impoliteness in fiction receive attention just as the challenges of translation and dubbing, the creation of past and future languages, the impact of fictional language on language change or the fuzzy boundaries of narratives. Each contribution, written by a leading specialist, gives a succinct, representative and up-to-date overview of research questions, theories, methods and recent developments in the field.

From Silver Screen to Spanish Stage

rewrite the dialogue for the stage; large stretches of the dialogue in certain film sequences are retained in the ... 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: 668

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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.