Resonant Bodies in Contemporary European Art Cinema

Emilija Talijan

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Hardback

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English

Edinburgh University Press
15 June 2022

Film movie production: technical skills

What does it mean to exist, in our experience of cinema, according to listening? How do sound and 'noise' reconfigure relations between spectators and screens, and by extension, spectators and their worlds? How do films raise questions about the ethics and politics of listening to different bodies? Resonant Bodies in Contemporary European Art Cinema answers these questions through an analysis of films by Catherine Breillat, Gaspar No, Tony Gatlif, Arnaud des Pallires, Lars von Trier and Peter Strickland. These post-millennial European directors have worked with sound in ways that resist the full-definition and perfect hearing offered by Dolby technology. Instead, they have privileged 'noise' - sounds that take us to the limit of what we can hear - in a move that foregrounds the body on screen and constructs spectators as listening bodies.

By: Emilija Talijan
Imprint: Edinburgh University Press
Country of Publication: United Kingdom
Dimensions: Height: 234mm, Width: 156mm,
ISBN: 9781474483452
ISBN 10: 1474483453
Pages: 200
Publication Date: 15 June 2022
Audience: College/higher education , Primary
Format: Hardback
Publisher's Status: Active

Emilija Talijan, Postdoctoral Research Fellow, University of Oford.

Reviews for Resonant Bodies in Contemporary European Art Cinema

Taking us on a thrilling journey through sound, Emilija Talijan explores what it means to become 'all ears' in the experience of film. With eloquence and erudition, she articulates new critical perspectives on noise and listening, making this essential reading within both film and sound studies. An altogether exquisite book. --Sarah Cooper, King's College London This film-philosophical foray into a range of fascinating sonic problems--the aesthetics of volume, Foley as a formal restraint, violence and vibration, the nonhuman dimension of rustling--compellingly models the book's thesis that listening is a radical mode of attention, and that deep attention is a form of thinking itself. --Eugenie Brinkema, author of Life-Destroying Diagrams