Tom Whittaker
- Published in print:
- 2017
- Published Online:
- January 2017
- ISBN:
- 9780190261122
- eISBN:
- 9780190261153
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190261122.003.0008
- Subject:
- Music, History, American, History, Western
This chapter addresses Woody Allen’s approach to vocal performance as a means of providing a broader meditation on the ventriloquism of the dubbed voice in film by examining the relationship between ...
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This chapter addresses Woody Allen’s approach to vocal performance as a means of providing a broader meditation on the ventriloquism of the dubbed voice in film by examining the relationship between Allen and his regular Spanish dubbing actor, Joan Pera, in order to explore the wider location of the voice in Spanish dubbing. Dubbing has formed an integral part of Spanish film practices. Yet the discussion of dubbing also provides the opportunity to reflect more widely on the fundamentally split nature of all voices, whether technologized or not. In using Allen’s ‘Spanish double’, the chapter considers two areas of dubbing that have received little academic attention: the vocal performance of the dubbed voice, and its place within the soundtrack of the film. Also addressed are the challenges and contradictions that surround the dubbing of nonverbal sounds, such as the stutters and stammers for which Woody Allen is well known.Less
This chapter addresses Woody Allen’s approach to vocal performance as a means of providing a broader meditation on the ventriloquism of the dubbed voice in film by examining the relationship between Allen and his regular Spanish dubbing actor, Joan Pera, in order to explore the wider location of the voice in Spanish dubbing. Dubbing has formed an integral part of Spanish film practices. Yet the discussion of dubbing also provides the opportunity to reflect more widely on the fundamentally split nature of all voices, whether technologized or not. In using Allen’s ‘Spanish double’, the chapter considers two areas of dubbing that have received little academic attention: the vocal performance of the dubbed voice, and its place within the soundtrack of the film. Also addressed are the challenges and contradictions that surround the dubbing of nonverbal sounds, such as the stutters and stammers for which Woody Allen is well known.
Linda Haverty Rugg
- Published in print:
- 2014
- Published Online:
- August 2015
- ISBN:
- 9780816691234
- eISBN:
- 9781452949505
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816691234.003.0002
- Subject:
- Film, Television and Radio, Film
Analysis of the appearance of cinematic authors within their own fictional narratives and how this relates to self-projection. Theories of embodied spectatorship related to a discussion of embodied ...
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Analysis of the appearance of cinematic authors within their own fictional narratives and how this relates to self-projection. Theories of embodied spectatorship related to a discussion of embodied authorship. Particular focus on Woody Allen and self-caricature, François Truffaut’s roles, Ingmar Bergman’s voice, Pedro Almodóvar’s interest in gendered embodiment.Less
Analysis of the appearance of cinematic authors within their own fictional narratives and how this relates to self-projection. Theories of embodied spectatorship related to a discussion of embodied authorship. Particular focus on Woody Allen and self-caricature, François Truffaut’s roles, Ingmar Bergman’s voice, Pedro Almodóvar’s interest in gendered embodiment.
Fred Feldman
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199571178
- eISBN:
- 9780191722547
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199571178.003.0010
- Subject:
- Philosophy, Moral Philosophy, Philosophy of Mind
An ancient objection to eudaimonism is based on the idea of “disgusting happiness”. Steven Cahn developed an interesting version of this objection based on a fictional character—Judah Rosenthal, from ...
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An ancient objection to eudaimonism is based on the idea of “disgusting happiness”. Steven Cahn developed an interesting version of this objection based on a fictional character—Judah Rosenthal, from the Woody Allen film Crimes and Misdemeanors. Judah passes all popular tests for happiness but is utterly morally corrupt. His case casts doubt on the naive identification of happiness with welfare. It's not clear that the case is decisive. Nevertheless, a form of eudaimonism that is intended to circumvent this problem can be developed. According to this novel form of the theory, the welfare value of each episode of happiness must be adjusted so as to reflect the extent to which the object of that happiness deserves to be enjoyed. It is left to the interested reader to determine whether the modification is really needed.Less
An ancient objection to eudaimonism is based on the idea of “disgusting happiness”. Steven Cahn developed an interesting version of this objection based on a fictional character—Judah Rosenthal, from the Woody Allen film Crimes and Misdemeanors. Judah passes all popular tests for happiness but is utterly morally corrupt. His case casts doubt on the naive identification of happiness with welfare. It's not clear that the case is decisive. Nevertheless, a form of eudaimonism that is intended to circumvent this problem can be developed. According to this novel form of the theory, the welfare value of each episode of happiness must be adjusted so as to reflect the extent to which the object of that happiness deserves to be enjoyed. It is left to the interested reader to determine whether the modification is really needed.
Steven M. Cahn and Christine Vitrano
- Published in print:
- 2015
- Published Online:
- November 2015
- ISBN:
- 9780231172400
- eISBN:
- 9780231539364
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231172400.003.0007
- Subject:
- Philosophy, Moral Philosophy
This chapter examines the connection between morality and unhappiness. It considers circumstances in which immoral behavior provides a greater chance to avoid disaster than does acting morally, ...
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This chapter examines the connection between morality and unhappiness. It considers circumstances in which immoral behavior provides a greater chance to avoid disaster than does acting morally, citing an example inspired by the plot of Woody Allen's movie Crimes and Misdemeanors. Given the ever-present possibilities of accident, illness, and death, everyone's happiness is fragile. Yet we can also ask whether or not the happiness of those who act immorally is more fragile than the happiness of those who act morally. On average such is the case, but averages do not necessarily apply in specific cases. For instance, the average man is taller than the average woman, but some women are taller than most men.Less
This chapter examines the connection between morality and unhappiness. It considers circumstances in which immoral behavior provides a greater chance to avoid disaster than does acting morally, citing an example inspired by the plot of Woody Allen's movie Crimes and Misdemeanors. Given the ever-present possibilities of accident, illness, and death, everyone's happiness is fragile. Yet we can also ask whether or not the happiness of those who act immorally is more fragile than the happiness of those who act morally. On average such is the case, but averages do not necessarily apply in specific cases. For instance, the average man is taller than the average woman, but some women are taller than most men.
Linda Haverty Rugg
- Published in print:
- 2014
- Published Online:
- August 2015
- ISBN:
- 9780816691234
- eISBN:
- 9781452949505
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816691234.001.0001
- Subject:
- Film, Television and Radio, Film
This book is formed as a response to the question of whether narrative films can perform as autobiographies. This is a subject that has been treated only in a couple of essays as a theoretical field ...
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This book is formed as a response to the question of whether narrative films can perform as autobiographies. This is a subject that has been treated only in a couple of essays as a theoretical field of its own. And the answer to the question is both no and yes. First, if we are to consider a non-documentary film as an autobiographical project of some kind, the idea of a cinematic author must be firmly in place for both the filmmaker and the spectator. So my study concentrates on the work of major authors in the art cinema tradition, directors who plant autobiographical traces in their films, engaging art cinema practices in order both to create a strong self-image (a “brand” of cinema) and also to meditate on the problematic nature of modern selfhood and self-representation. I am attempting to recuperate auteurism from its post-structural opponents, arguing that it provides a kind of self-deconstructing position for filmmakers: that is, they knowingly use the concept of authorship to forward their own work and visions while also revealing the collaborative nature of cinema. My study shows the way in which both actors and cinematic apparatus intrude in or take over the process of self-representation, complicating the ideas of authorship and selfhood. I propose to replace “autobiography” the term “self-projection,” which I offer as cinema’s answer to earlier strategies of self-representation, a strategy that makes full use of cinema’s ontology to lay bare a new ontology of selfhood.Less
This book is formed as a response to the question of whether narrative films can perform as autobiographies. This is a subject that has been treated only in a couple of essays as a theoretical field of its own. And the answer to the question is both no and yes. First, if we are to consider a non-documentary film as an autobiographical project of some kind, the idea of a cinematic author must be firmly in place for both the filmmaker and the spectator. So my study concentrates on the work of major authors in the art cinema tradition, directors who plant autobiographical traces in their films, engaging art cinema practices in order both to create a strong self-image (a “brand” of cinema) and also to meditate on the problematic nature of modern selfhood and self-representation. I am attempting to recuperate auteurism from its post-structural opponents, arguing that it provides a kind of self-deconstructing position for filmmakers: that is, they knowingly use the concept of authorship to forward their own work and visions while also revealing the collaborative nature of cinema. My study shows the way in which both actors and cinematic apparatus intrude in or take over the process of self-representation, complicating the ideas of authorship and selfhood. I propose to replace “autobiography” the term “self-projection,” which I offer as cinema’s answer to earlier strategies of self-representation, a strategy that makes full use of cinema’s ontology to lay bare a new ontology of selfhood.
Ryan Bishop
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780748643073
- eISBN:
- 9780748689071
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748643073.003.0003
- Subject:
- Film, Television and Radio, Film
Cinema’s apparent veri similitude — its ability to document that which appears before the lens — provided the source for early non-fiction film experimentation and opened the door for propaganda and ...
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Cinema’s apparent veri similitude — its ability to document that which appears before the lens — provided the source for early non-fiction film experimentation and opened the door for propaganda and misinformation. The work of a clutch of theorists and film-makers addressd in this chapter questions the changing status of the image, cinema’s self-reflexive engagement with this status, and the fomenting and/or quelling cultural criticism. This inquiry explores the aesthetics of the documentary as a genre in the creation of that oxymoronic phenomenon of media called ‘unmediated representation’. Along with the now-standard aesthetic qualities of the genre, documentary gains its unique filmic status by partaking of the historical authority of the newsreel and its presentational format, a kind of visual store of collected moving image memory and historical events that is amplified exponentially with the coming of television, and later the internet and online streaming, as well as platform-to-platform media sharing.Less
Cinema’s apparent veri similitude — its ability to document that which appears before the lens — provided the source for early non-fiction film experimentation and opened the door for propaganda and misinformation. The work of a clutch of theorists and film-makers addressd in this chapter questions the changing status of the image, cinema’s self-reflexive engagement with this status, and the fomenting and/or quelling cultural criticism. This inquiry explores the aesthetics of the documentary as a genre in the creation of that oxymoronic phenomenon of media called ‘unmediated representation’. Along with the now-standard aesthetic qualities of the genre, documentary gains its unique filmic status by partaking of the historical authority of the newsreel and its presentational format, a kind of visual store of collected moving image memory and historical events that is amplified exponentially with the coming of television, and later the internet and online streaming, as well as platform-to-platform media sharing.
Linda Haverty Rugg
- Published in print:
- 2014
- Published Online:
- August 2015
- ISBN:
- 9780816691234
- eISBN:
- 9781452949505
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816691234.003.0001
- Subject:
- Film, Television and Radio, Film
A look at the historical and theoretical underpinnings of art cinema, examining how viewers are conditioned to recognize an author’s presence in fictional cinematic narrative. Discussion of ...
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A look at the historical and theoretical underpinnings of art cinema, examining how viewers are conditioned to recognize an author’s presence in fictional cinematic narrative. Discussion of autobiographical impulses in fictional films by the directors of this study, introduction of the term “self-projection.” Brief discussion of cinematic self-projection and gender.Less
A look at the historical and theoretical underpinnings of art cinema, examining how viewers are conditioned to recognize an author’s presence in fictional cinematic narrative. Discussion of autobiographical impulses in fictional films by the directors of this study, introduction of the term “self-projection.” Brief discussion of cinematic self-projection and gender.
Linda Haverty Rugg
- Published in print:
- 2014
- Published Online:
- August 2015
- ISBN:
- 9780816691234
- eISBN:
- 9781452949505
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816691234.003.0005
- Subject:
- Film, Television and Radio, Film
Here the appearance of various attributes of the cinematic apparatus (projector, screen, photographic film frames) are linked to various parts of the filmmaker’s body and sensory apparatus, making ...
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Here the appearance of various attributes of the cinematic apparatus (projector, screen, photographic film frames) are linked to various parts of the filmmaker’s body and sensory apparatus, making the point, as early filmmakers do, that cinema creates a new kind of body (partly organic, partly technological) and thus a new way to conceive selfhood.Less
Here the appearance of various attributes of the cinematic apparatus (projector, screen, photographic film frames) are linked to various parts of the filmmaker’s body and sensory apparatus, making the point, as early filmmakers do, that cinema creates a new kind of body (partly organic, partly technological) and thus a new way to conceive selfhood.
Jonathan Boyarin
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780823239009
- eISBN:
- 9780823239047
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823239009.003.0011
- Subject:
- Religion, Judaism
The tryout visit of Rabbi Josh Yuter is described in this chapter, especially the dinner hosted by the author and his wife Elissa Sampson. There are more reflections about the relation between messy ...
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The tryout visit of Rabbi Josh Yuter is described in this chapter, especially the dinner hosted by the author and his wife Elissa Sampson. There are more reflections about the relation between messy experience and organized ethnography, emphasized through a non-allegorical discussion of garbage.Less
The tryout visit of Rabbi Josh Yuter is described in this chapter, especially the dinner hosted by the author and his wife Elissa Sampson. There are more reflections about the relation between messy experience and organized ethnography, emphasized through a non-allegorical discussion of garbage.
Frank Furedi
- Published in print:
- 2016
- Published Online:
- October 2016
- ISBN:
- 9780198723301
- eISBN:
- 9780191789700
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198723301.003.0004
- Subject:
- Law, Criminal Law and Criminology, Legal Profession and Ethics
The aim of this chapter is to explore why the informal/private sphere of intergenerational relations has become the focus of incessant moral crusades. It discusses the cultural narrative of child ...
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The aim of this chapter is to explore why the informal/private sphere of intergenerational relations has become the focus of incessant moral crusades. It discusses the cultural narrative of child protection and the rhetoric of claims-making about a new species of threats facing children. The nature of moral crusades is considered with reference to medieval witch hunts and, in post-Savile Britain, to victim advocacy with its use of moralised language and the rhetoric of big numbers. It is argued that the duty to believe has become a master-narrative through which claims of victimisation are interpreted, and which has turned allegations of sexual abuse into a constant focus of public anxiety. Operation Yewtree, in response to the Savile Scandal, is used as an exemplar of these broader cultural trends.Less
The aim of this chapter is to explore why the informal/private sphere of intergenerational relations has become the focus of incessant moral crusades. It discusses the cultural narrative of child protection and the rhetoric of claims-making about a new species of threats facing children. The nature of moral crusades is considered with reference to medieval witch hunts and, in post-Savile Britain, to victim advocacy with its use of moralised language and the rhetoric of big numbers. It is argued that the duty to believe has become a master-narrative through which claims of victimisation are interpreted, and which has turned allegations of sexual abuse into a constant focus of public anxiety. Operation Yewtree, in response to the Savile Scandal, is used as an exemplar of these broader cultural trends.
Steve Redhead
- Published in print:
- 2008
- Published Online:
- September 2012
- ISBN:
- 9780748627882
- eISBN:
- 9780748671182
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748627882.003.0007
- Subject:
- Society and Culture, Media Studies
This chapter is an extract from Baudrillard’s The Evil Demon of Images, with an editorial overview
This chapter is an extract from Baudrillard’s The Evil Demon of Images, with an editorial overview
Linda Haverty Rugg
- Published in print:
- 2014
- Published Online:
- August 2015
- ISBN:
- 9780816691234
- eISBN:
- 9781452949505
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816691234.003.0004
- Subject:
- Film, Television and Radio, Film
The director’s relationship to his actors, and how that collaboration works within the framework of self-projection. Attention is paid to personal relationships between actors and directors ...
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The director’s relationship to his actors, and how that collaboration works within the framework of self-projection. Attention is paid to personal relationships between actors and directors (familial, sexual, hostile), with a special focus on the striking frequency with which art cinema authors employ their mothers as actors in their films. This section works toward a new theory of film acting.Less
The director’s relationship to his actors, and how that collaboration works within the framework of self-projection. Attention is paid to personal relationships between actors and directors (familial, sexual, hostile), with a special focus on the striking frequency with which art cinema authors employ their mothers as actors in their films. This section works toward a new theory of film acting.
Todd Berliner
- Published in print:
- 2017
- Published Online:
- April 2017
- ISBN:
- 9780190658748
- eISBN:
- 9780190658786
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190658748.003.0011
- Subject:
- Literature, Film, Media, and Cultural Studies, Criticism/Theory
Chapter 11 examines the aesthetic value of novelty in a genre’s evolution by tracing the history of the convention that characters in Hollywood musicals spontaneously burst into song without ...
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Chapter 11 examines the aesthetic value of novelty in a genre’s evolution by tracing the history of the convention that characters in Hollywood musicals spontaneously burst into song without realistic motivation. The convention emerged in 1929 and largely vanished by the end of the 1950s. The chapter studies how studio-era filmmakers developed novel conventions that exploited the aesthetic possibilities of song in cinema. The eventual loss of the convention created new constraints on the uses of song, but it also enabled new aesthetic possibilities. Post-studio-era filmmakers transformed the convention, exposed it, and reclaimed it in ways that added novelty to spectators’ aesthetic experience.Less
Chapter 11 examines the aesthetic value of novelty in a genre’s evolution by tracing the history of the convention that characters in Hollywood musicals spontaneously burst into song without realistic motivation. The convention emerged in 1929 and largely vanished by the end of the 1950s. The chapter studies how studio-era filmmakers developed novel conventions that exploited the aesthetic possibilities of song in cinema. The eventual loss of the convention created new constraints on the uses of song, but it also enabled new aesthetic possibilities. Post-studio-era filmmakers transformed the convention, exposed it, and reclaimed it in ways that added novelty to spectators’ aesthetic experience.
Linda Haverty Rugg
- Published in print:
- 2014
- Published Online:
- August 2015
- ISBN:
- 9780816691234
- eISBN:
- 9781452949505
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816691234.003.0003
- Subject:
- Film, Television and Radio, Film
Examination of directorial self-representation in two related genres: documentaries on the making of films and narrative films about directing, in which the director plays a fictional film director. ...
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Examination of directorial self-representation in two related genres: documentaries on the making of films and narrative films about directing, in which the director plays a fictional film director. Discussion of how these practices figure into the larger notion of self-projection, with the director performing self-consciously as author or artist.Less
Examination of directorial self-representation in two related genres: documentaries on the making of films and narrative films about directing, in which the director plays a fictional film director. Discussion of how these practices figure into the larger notion of self-projection, with the director performing self-consciously as author or artist.
Robert P. Kolker and Nathan Abrams
- Published in print:
- 2019
- Published Online:
- June 2019
- ISBN:
- 9780190678029
- eISBN:
- 9780190678067
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190678029.003.0009
- Subject:
- Literature, Film, Media, and Cultural Studies
The epilogue considers how Eyes Wide Shut fits within modernist aesthetics, the European art film genre, and how it incorporates film history into its form and content. The film is not only a ...
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The epilogue considers how Eyes Wide Shut fits within modernist aesthetics, the European art film genre, and how it incorporates film history into its form and content. The film is not only a summation of Kubrick’s own work, but of his thinking about film in general. Full of allusions to other filmmakers, acknowledging their influence, giving a nod to his colleagues and friends. Kubrick has been called the last of the high modernists and he proves this through his concentration on the formal elements of his art as well as its allusive nature. Eyes Wide Shut is not an isolated phenomenon. No film is. Kubrick absorbed film like a sponge; he knew its history and he had his favorites.Less
The epilogue considers how Eyes Wide Shut fits within modernist aesthetics, the European art film genre, and how it incorporates film history into its form and content. The film is not only a summation of Kubrick’s own work, but of his thinking about film in general. Full of allusions to other filmmakers, acknowledging their influence, giving a nod to his colleagues and friends. Kubrick has been called the last of the high modernists and he proves this through his concentration on the formal elements of his art as well as its allusive nature. Eyes Wide Shut is not an isolated phenomenon. No film is. Kubrick absorbed film like a sponge; he knew its history and he had his favorites.
Linda Haverty Rugg
- Published in print:
- 2014
- Published Online:
- August 2015
- ISBN:
- 9780816691234
- eISBN:
- 9781452949505
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816691234.003.0006
- Subject:
- Film, Television and Radio, Film
A brief conclusion that goes back over the major points of the study’s discussions and thinks about the implications of digital filmmaking. In the end, the imagined relationship between the spectator ...
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A brief conclusion that goes back over the major points of the study’s discussions and thinks about the implications of digital filmmaking. In the end, the imagined relationship between the spectator and the director is brought to the fore as the most significant moment in self-projection.Less
A brief conclusion that goes back over the major points of the study’s discussions and thinks about the implications of digital filmmaking. In the end, the imagined relationship between the spectator and the director is brought to the fore as the most significant moment in self-projection.
