Of all the AVT techniques, voice-over has probably been the least studied and the least valued. This state of affairs can be found in not only western Europe (where voice-over is limited to mostly non-fiction programmes) but also in Poland (where voice-over remains the most widely applied technique of translation for feature films for the television and DVD markets. The aim of this contribution is to re-evaluate some of the existing academic prejudices against voice-over and to highlight its advantages in comparison with subtitling and dubbing, given that voice-over is free of some specific constraints that are present in the other two AVT techniques. The analysis - illustrated by selected examples taken from the TV science-fiction series Star Trek - focuses on the interaction between the key factors in successful voice-over: (1) the acoustic balance between the original film's soundtrack and the text delivered by the reader, (2) the quality and the quantity of translated text and (3) the timbre and intonation of the reader's voice, and (4) the way in which the reader synchronises the reading with the original soundtrack. In the conclusion, the author proposes that the voice-over of feature films could be improved dramatically by transforming it into a 'voice-in-between' technique.
Canadian Culture and the Legacies of History
Edited by Coral Ann Howells
The English/French language difference is emblematic of Canadian difference; the two-part arrangement, with one section on Literature and the other on Film, sets up the pattern of relationships between the two forms of cultural representation that these essays explore. Essays in the Literature section are on single texts by such writers as: Margaret Atwood, Tomson Highway, Ann-Marie MacDonald, Anne Michaels, and Alice Munro; Gabrielle Roy, Anne Hébert, Antonine Maillet, Bernard Assiniwi, and Régine Robin. The Film section with its mirror structure both supplements and amplifies this dialogue, extending notions of Canadianness with its emphasis on voices from Quebec and Acadia traditionally ‘othered’ in Canadian history. Filmmakers treated include: Phillip Borsos, Atom Egoyan, Ted Kotcheff, Mort Ransen, and Vincent Ward; Denys Arcand, Gilles Carle, Alanis Obomsawin, Léa Pool, and Jacques Savoie.
Page and Stage, Canvas and Screen
Edited by Rui Carvalho Homem
For an interview with the author on The Voice of Russia (July 19th, 2012): click here.
Edited by Walter Bernhart
This volume for the first time offers a set of careful case studies from a wide range of artistic genres (narrative fiction, poetry, opera, instrumental music, songs, jazz) and historical phases (from Elizabethan verse to 21st-century HD opera performances) which give detailed insight into consequences of addressing issues of performativity in the field of word and music studies. Closely examined examples range, in music, from the romantic reception of Bach and the opera singer Maria Malibran through Mahler and Schoenberg to Brigitte Fassbaender, Philip Glass and Charles Mingus, and, in literature, from Sidney through Yeats and Celan to Katherine Mansfield, Alejo Carpentier and Toni Morrison.
In addition, the volume contains a smaller section on ‘Surveying the Field’ of word and music studies which includes an essay of general reflection on interart relationships and an attempt at identifying new features of the ‘musicalization of fiction’.
This collection of essays will be relevant to students and scholars from a wide variety of fields: performance studies, intermediality studies, art theory, musicology, voice studies, literary criticism, and philosophy.
Memory and Forgetting: Traces of Silence in Sarkis
Sarkis, contemporary artist of Armenian origin living in Paris, works metaphorically on the memory of “catastrophes”. His work resonates with the 20th-century’s mass exterminations and belongs to the universal diaspora, between acquiescing to forget and the duty of remembering. It is a matter of looking for crutches and landmarks in a phantom-like past, by saving the vestiges and telling the story of the losses. Set out to restore the link between past and present, Sarkis also works with magnetic strips, plastic objects that symbolize Ariadne’s thread; that thread of memory, which – although visible – conceals itself because it remains silent. In his work, forgetting dwells in memory like a silent voice.
Reading Music Theatre as Experience and Performance
Edited by Dominic Symonds and Pamela Karantonis
A Report on ‘The Graduate Workshop in Ancient Greek and Roman Music’ (Oxford, 28 June 2018)
Spencer A. Klavan, James Lloyd and Harry Morgan
This report provides a conspectus of the nine papers presented at ‘The Graduate Workshop in Ancient Greek and Roman Music’, held at the University of Oxford in June 2018. The workshop was organised with the intent of showcasing the innovative work of postgraduates in the field of ancient Greek and Roman music. Based around the themes of theory and practice, drama, and ritual, the papers reflect current areas of focus within the field and suggest promising avenues for further enquiry.