The Parenthetical Voice-over: Dialectical Audiovisual Structure in Hollis Frampton's (nostalgia) and Jonas Mekas's The Song of Avila

Ming-Yu Lee

《文山評論：文學與文化》 15卷1期 (2021/12) Pp. 235-267

https://doi.org/10.30395/WSR.202112_15(1).0010

摘要

This paper aims to discuss the use of the voice-over in first-person cinema and its unique audiovisual structure. Employing notions of caméra-stylo from Alexandre Astruc, horizontal montage from André Bazin, sonic interstices from Laura Rascaroli, and Michel Chion's discussion on the sound in cinema, I try to examine in this paper how the voice-over has become the most common approach for revealing the filmmaker/author's presence, and further, how voice-over narration interacts with images within a dynamic parenthetical structure. By using Hollis Frampton's (nostalgia) and Jonas Mekas's The Song of Avila as case studies, I aim to establish that in parenthetical structure, the voice-over functions in various ways and can be seen as a novel perspective for treating audiovisual structure in the first-person cinema.

關鍵字

voice-over ； Hollis Frampton ； Jonas Mekas ； (nostalgia) ； The Song of Avila ； essay film ； diary film

參考文獻

Bazin, André. “Bazin on Marker.” Film Comment, translated by Dave Kehr, July-Aug. 2003, pp. 44-45.

Chion, Michel. The Voice in Cinema. Translated and edited by Claudir Gorbman, Columbia UP, 1999.

Deleuze, Gilles. Cinema 2: The Time-Image. Translated by Hugh Tomlinson and Robert Galeta, U of Minnesota P, 1989.

Eisenstein, S. M. S. M. Eisenstein Selected Works Volume II: Towards a Theory of Montage. Translated by Michael Glenny, edited by Michael Glenny and Richard Taylor, BFI Publishing, 1991.

Frampton, Hollis, director. (nostalgia). 1971. A Hollis Frampton Odyssey. The Criterion Collection, 2012, disc 2.