By Antonella C. Sisto
A serious engagement with cinema in Italy, this e-book examines the nationwide archive of movie in response to sound and listening utilizing a holistic audio-visual process. Sisto shifts the sensory paradigm of movie heritage and research from the optical to the sonic, demonstrating how this interprets right into a shift of canonical narratives and interpretations.
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Extra resources for Film Sound in Italy: Listening to the Screen
Example text
We find something of a cavalier disengagement with the subject in the most recent book published in Italy on the history of sound in cinema, author Paola Valentini praises, without further comment, the introduction of dubbing in the 1930s as a modality of translation of foreign films in Italy that “inaugurates a tradition much loved and of high quality” (Il suono nel cinema 34). Without any intent of dismissing the labor and professionalism of the voice actors, the point here is that an approach willing to view dubbing simply in terms of the factuality of its existence does not allow for a discourse that considers it problematically, historically, ideologically, and culturally as a living, sounding heritage of Fascism that swallowed up voices and mystified other cultures.
Critical listening and history is irrelevant to the argument that underplays, or frankly ignores, dubbing’s political, ideological, and homogenizing character. The works aim at shedding light on the protagonists of dubbing, the voices that made, and some of whom still make, the Italian soundscape of foreign films. Mario Guidorizzi’s Voci d’autore is indicative, invoking a Freudian magic and the surreal “power of the double,” of which dubbing acts as the cinematographic vocal incarnation—he proposes to fill the cultural gap that impedes the recognition of what he considers a historical artistic component of the national cinema industry.
How change plays, how it is understood, applied, controlled, and for what ends depends on culture, economics, and politics. Unsurprisingly, when films begin to speak, who speaks, what is said, and how it is said become important questions in search of useful answers that serve those ends. Paramount’s Joinville ceased production in July of 1932 having gained profits only as a dubbing laboratory. (31) Mario Camerini was one of the Italian directors from the period who spent time working in the Joinville studios, where he became familiar with Hollywood conventions of the happy ending and virtue rewarded plot lines that can be found in his later films (Ben-Ghiat 84–85).