Feeling the Voice: Embodied Aural Encounters in Under the Bombs

Research output: Chapter in Book/Report/Conference proceedingChapter

Abstract

Shot on digital video during and after Israel’s aerial bombardment of Lebanon in 2006, Philippe Arachtingi’s Under the Bombs (2007) uses actors to play the lead characters in a fictitious narrative, interacting with bystanders and using a real war as its setting and backdrop. Johnston argues that the soundtrack, particularly the voice, has an important role to play in creating and enabling this hybrid of fiction, documentary, and news footage. The verbal and nonverbal vocal elements of the soundtrack provide a tactile embodiment of the performers visible on screen. Furthermore, synchronized location-recorded sound simultaneously authenticates the reality of the moment, and initiates a felt emotional response. Using analysis of key scenes in the film, and focusing on nonsemantic characteristics of voice, the chapter considers the role of sound technologies in the mediation of screen performance, experienced as embodied aural encounters.
Original languageEnglish
Title of host publicationLocating the Voice in Film: Critical Approaches and Global Practices
EditorsTom Whittaker, Sarah Wright
Place of PublicationOxford
PublisherOxford University Press
Pages191-208
ISBN (Print)9780190261122
Publication statusE-pub ahead of print - 31 Jan 2017

Fingerprint

Soundtrack
Sound
Aural
Footage
Embodiment
Lebanon
Performer
Documentary
Emotional Response
Visible
Mediation
Bystander
News
Digital Video
Fiction

Keywords

  • voice
  • breath
  • sound
  • soundtrack
  • film
  • documentary
  • drama-doc
  • performance
  • Lebanon
  • war

Cite this

Johnston, N. (2017). Feeling the Voice: Embodied Aural Encounters in Under the Bombs. In T. Whittaker, & S. Wright (Eds.), Locating the Voice in Film: Critical Approaches and Global Practices (pp. 191-208). Oxford: Oxford University Press.
Johnston, Nessa. / Feeling the Voice: Embodied Aural Encounters in Under the Bombs. Locating the Voice in Film: Critical Approaches and Global Practices. editor / Tom Whittaker ; Sarah Wright. Oxford : Oxford University Press, 2017. pp. 191-208
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Johnston, N 2017, Feeling the Voice: Embodied Aural Encounters in Under the Bombs. in T Whittaker & S Wright (eds), Locating the Voice in Film: Critical Approaches and Global Practices. Oxford University Press, Oxford, pp. 191-208.

Feeling the Voice: Embodied Aural Encounters in Under the Bombs. / Johnston, Nessa.

Locating the Voice in Film: Critical Approaches and Global Practices. ed. / Tom Whittaker; Sarah Wright. Oxford : Oxford University Press, 2017. p. 191-208.

Research output: Chapter in Book/Report/Conference proceedingChapter

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AB - Shot on digital video during and after Israel’s aerial bombardment of Lebanon in 2006, Philippe Arachtingi’s Under the Bombs (2007) uses actors to play the lead characters in a fictitious narrative, interacting with bystanders and using a real war as its setting and backdrop. Johnston argues that the soundtrack, particularly the voice, has an important role to play in creating and enabling this hybrid of fiction, documentary, and news footage. The verbal and nonverbal vocal elements of the soundtrack provide a tactile embodiment of the performers visible on screen. Furthermore, synchronized location-recorded sound simultaneously authenticates the reality of the moment, and initiates a felt emotional response. Using analysis of key scenes in the film, and focusing on nonsemantic characteristics of voice, the chapter considers the role of sound technologies in the mediation of screen performance, experienced as embodied aural encounters.

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BT - Locating the Voice in Film: Critical Approaches and Global Practices

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Johnston N. Feeling the Voice: Embodied Aural Encounters in Under the Bombs. In Whittaker T, Wright S, editors, Locating the Voice in Film: Critical Approaches and Global Practices. Oxford: Oxford University Press. 2017. p. 191-208