Audio-Visual: Disembodied Voices in Theory

Abstract

After a survey of the major critical trends since the generalization of synchronized film sound, this bibliographical essay sets out to delineate the way film sound studies have developed around issues of taxonomy, meaning, and reception. Focusing on the treatment of the disembodied voice by various theorists, three trends can be identified: borrowing from semiology and narratology, an essentially descriptive approach first emerges that creates a new vocabulary to talk about sound and analyze the links between sound and image. A second approach emphasizes the possible meanings of the disembodied voice, a trend heavily influenced by Lacanian theories and their later adaptations by feminist film theorists. Finally, some researchers have opted for semio-pragmatic or cognitive approaches that take into account the experience of audiences. These different approaches underline the way film sound has evolved as an object of study, to be considered as a complex and flexible phenomenon. They also have developed tools that can be applied to other audiovisual media in which the role of sound and the voice should not be underestimated.