Echo and Hum
Echo and Hum
Death’s Acoustic Spacein the Early Sound Film
This chapter examines the nondiegetic soundtrack as registrant in the early sound film. In theory, the sound camera can capture the last audible breath or spoken utterance, and it can produce the medial equivalent of such a stop. The body has an acoustic “off” switch, and the continuity of sound can be suddenly muted. But the theory of an instant does not translate well to screen practice: final words are reinforced by the slide to bodily inertia, and sudden silence leaves an echo. This chapter analyzes disembodied death sounds in films such as The Jazz Singer, Applause, and Frankenstein and the role played by the disembodied voice in ending life onscreen. It also considers the microphone as a death technology and how dying can be heard from the external space surrounding it. Finally, it explains how offscreen sounds of singing, talking, and crying registrants affect the fundamental flow of the deathwatch.
Columbia 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.
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 .