Jump to ContentJump to Main Navigation
Voicing the CinemaFilm Music and the Integrated Soundtrack$
Users without a subscription are not able to see the full content.

James Buhler and Hannah Lewis

Print publication date: 2020

Print ISBN-13: 9780252043000

Published to Illinois Scholarship Online: September 2020

DOI: 10.5622/illinois/9780252043000.001.0001

Show Summary Details
Page of

PRINTED FROM ILLINOIS SCHOLARSHIP ONLINE (www.illinois.universitypressscholarship.com). (c) Copyright Illinois University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ISO for personal use.date: 23 September 2021

The End(s) of Vococentrism

The End(s) of Vococentrism

(p.278) Chapter 15 The End(s) of Vococentrism
Voicing the Cinema
James Buhler
University of Illinois Press

This chapter examines the concept of vococentrism proposed by Michel Chion and developed at length by David Neumeyer. The first part looks at the system of vococentrism as it was codified in the early 1930s to replace the original rule of mimetic synchronization, with its emphasis on the act of recording. Vococentrism was by contrast focused on placing the voice in a narrative representation. Vococentrism essentially reconciled the soundtrack to the continuity system, transformed music into its customary role of underscore, and ensured that the soundtrack served as the voice of narrative. The second part examines vococentrism in the age of intensified continuity, David Bordwell’s term for the stylistic system that has dominated filmmaking since the 1980s. The author concludes that whereas intensified continuity has given greater emphasis to the face in the visual field, it has displaced the voice from its central position on the soundtrack. Intensified continuity has ushered in the end of vococentrism, which in a sense recognizes how marks of identity and subjectivity in contemporary cinema have given way to figures of gesture and affect.

Keywords:   Vococentrism, intensified continuity, soundtrack, film, classical cinema, postclassical cinema

Illinois Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.