Epilogue
The Horizon of Hearing the World
Christian Metz’s 1965 article “Cinema and the impression of reality” constitutes, in my opinion, a crucial (but unacknowledged) moment in the contemporary turn of film theory. Metz investigates a fundamental phenomenon of cinema that was then (as it is still now) often taken for granted: how does cinema forge, with the active participation of its audience, an impression of reality? That cinema possesses an almost magical bonding power to its audience is something we have little difficulty to admit, but the nature of this power is what has escaped and fascinated film theorists. Metz’s following speculation verges on the central proposal of this dissertation,
The spectator is indeed "disconnected" from the real world, but he must then connect to something else and accomplish a "transference" of reality, involving a whole affective, perceptual, and intellective activity, which can be sparked only by a spectacle resembling at least slightly the spectacle of reality.1
What is this “something else” that Metz believes that the audience feels the psychological need to connect to? Shy of the term “world,” Metz nevertheless articulates well the very categories of mental activities that I would use to characterize an access to the world. He also asserts that in order to understand this accomplishment, one needs to locate “the elements of reality contained within the film itself.”2
This dissertation can be read as an attempt to locate the elements of the world contained within the film sound itself. I have replaced the term “reality” in Metz’s formulation by “the world,” for I see the latter as more potent in aspects that I, and I imagine Metz too, would want the word to mean. One can often, as the idiom goes, lose touch with reality; but one can never lose touch with the world. Even the most unrealistic moments of the most unrealistic of films affirm this connection. These moments speak the films’ otherworldly, but nevertheless worldly, ambition.
The ambition of this dissertation, in its turn, is to acknowledge these moments’ phenomenological strength as well as the source of this strength. But I have not evoked the word “world” in purely abstract terms. Nor do I intend to reduce a phenomenon that is crucial to cinema and instantiated in the most concrete fashion possible throughout the history of cinema, to some thought experiments or axioms, propositions. By coming up with a dissertation title that has “world” in it, I mean to invoke a rich vein of literature that has the idea of the world at its center (phenomenology, perceptual psychology, ordinary language philosophy, among others) without actually committing to a rigorous study of what the world is, philosophically speaking. Instead I have endeavored to conduct a study of cinema sound, a study that delves into cinema’s myriad of technical details and immerses itself in cinema’s maddening historical circumstances. I have chosen to recite the term world along close hearings of sometime glorious, sometime mundane but always concrete cases of filmmaking.
In the first part of this work I propose the notion of audiovisual diegesis both as a theoretical construct and a historical paradigm. It demonstrates my characteristic way of approaching the two sides of the problem. For me the claims of film theory and those of film history should be one and the same. Therefore a same question can often be asked at once as a theoretical one and as a historical one. What is the sudden experiential change brought by the advent of sound? How do we theorize the new world of sound cinema? If this tectonic change (arguably the most radical in the history of cinema) is not the advent of sound (sound has been there), or even the advent of mechanically synchronized sound (which existed already in the late aughts), then what kind of continent it shifts, into what shape? If we follow Bazin’s beautiful equilibrium profile analogy, what might be the “geological movement” that sets the water to work again, “seeping into the surrounding land, goes deeper, burrowing and digging”?3
I see the notion of the audiovisual diegesis as a way to characterize this moment (at least one aspect of it) in that it taps into a mode of cinema that has existed independently of the cinema as an art. I call this a world mode because, plain and simple, it offers a world for us to hold onto. Whether it constitutes art is a related but nevertheless different issue. This is precisely where I divert from traditional accounts of problem: it is not that the classical film theorists have not noticed this change, but they fail, with the exception of Bazin, to acknowledge sound’s game-changing power. Sound surely is a nice aesthetic dimension, something that can be played with in this and that way against the images. But it also brings a different game to cinema, a game with the world that so to speak requires ambidexterity of sound and image in close choreography.
In the second part, I turn my attention to the issue of sound space, that is, how the spatial acoustics of sound in cinema contributes to our perception of the filmic world. If the advent of sound in the late 1920s has forged a new identity for cinema, I wonder, how do we characterize sound’s continuous evolution throughout the latter part of the 20th century? How do we conceive sound’s new mission in the following millennium? To foreground how sound relates to space entails therefore not only a historical investigation of sound’s past, but also a forecast of sound technology’s future. In making the distinction between the embedded space and the embodying space, I mean to not only sketch out a dialogic connection between sound technology’s newest development and a lineage of immersive modes of perception in its historical past. Again, what concerns me the most is not particular technologies that presume to offer a better degree of immersion, but rather, the different sense of acoustic presence they seem to afford.
\[...\]” Indeed, the reason by which Bazin was impressed by Cinerama is “the impression of discovering something for which all images previously known, including those of cinema, were only a rough approximation.”4 Instead of referring to this experience that of the “image” Bazin contemplates an alternative term (“sequence”) for “if we are still dealing with a reproduction of reality, this reproduction is so physically effective, at least at certain moments, that it no longer corresponds to our traditional concept of the image.”5 I am inclined to think that Bazin’s observations are cogent for sound, as sound’s quest in the space and its negotiation of the third dimensionality have also generated profound changes in our cinematic experience, to the extent that our traditional concept of the sound no longer seems sufficient.
The final part deals with the role of spoken languages in cinema. If in the preceding chapters I have attempted to characterize the worlding effect of sound mainly as sensorial, the point being made here is to demonstrate ways in which sound can also go significantly beyond the scope of sensorial stimulation. The sound cinema offers, I argue, a unique way to portray language’s essential mediating role in self-expression and interpersonal communication. My claim is not only a radical move towards reconceptualizing the relation between languages and cinema (a prominent line of thoughts exists on this subject), but it affirms languages as part of the cinematic worldhood. The worlding theory of the cinematic experience demands a holistic conception of language in cinema, that is, languages-in-the-world. Instead of a linguistics (a scientific abstraction of the phenomena; to reduce it to a system), Bakhtin’s theory of language offers a thick description of the languages-in-the-world phenomenon. What we hear in a film is not a script read out aloud; it is a world of voices.
Again, our perception of this world of voices has a history of its own. What I have attempted to outline is a history of how cinema learns to speak, that is, to acquire this world of voices. But it is also a history of how we respond to this world of voices. The singular status of the human voice has served as a compelling force, a source of mesmerization in the early days of sound cinema. And it continues to marvel us in the polyglossic and heteroglossic cinemas that follow. I characterize this enthralling sensation as phenomenal authenticity for its very remarkable, extraordinary quality. But an even more important implication of the term is the immediacy of experience of the world, a quality of voice that cinema is forever learning to harness.
Throughout this dissertation, the notion of the filmic world serves as a unifying force. I have treated in separate parts different issues such as the audiovisual diegesis, the sound space and the human voices. I have conceived them in their respective theoretical contexts and historical trajectories. These investigations obviously are not exhaustive and remain open for further and more detailed inquiries. Although I have sought these issues out one by one, these are not unrelated. For conceptual clarity, they may be better presented as such. But these issues are linked not only in the specific historical contexts that I have sketched out (going back to the same transition period again and again), but also in the same aesthetic ground of their functioning. Instead of ambient sounds, sounds that suggest a space, or sounds of people’s voices, I would like to believe that they are all sounds that suggest a world. Far from being entirely optional or secondary, something that serves the image at best, sound offers a unique access to the filmic world.
I want to conclude this dissertation by catching a glimpse of what lies in the horizon. What good could a phrase with a “world” in it do, I ask myself, to a study of cinema sound? What are the prospects of such a seemingly broad theoretical notion—it is obviously not something that is strictly limited to the field of film sound—in a much wider context? This is not the place to make more claims (I have made enough, I believe). But it seems to me that by giving the term “world” this kind of prominence, a theory of audiovisual medium can be broadly conceived. The idea of “world heard” is therefore potentially applicable to other contemporary media practices. Some aspects of the theory can be productively associated, for instance, with the game world. But if this study is not limited by its theoretical repercussion it is nevertheless limited by its scope of substantiation. My discussions are grounded in the specific historical texts and contexts of cinema. This said, I am convinced that this aspiration to a world in all its sensorial, affective and intellectual totality is a significant direction not only to the future of film sound technology, but also to the future of cinema as a form of technologically mediated audiovisual experience.
List of Recent Chinese Films that Feature Dialects
Here is a partial list of recent Chinese narrative fiction films (up to 2009) that feature extensive use of dialects. This list is only meant to be suggestive of the general trend: it is limited to both my own viewing experience and my capacity in identifying dialects.
Year Chinese Title English Title Filmmaker Dialect used
1992 秋菊打官司 The Story of Qiuju ZHANG Yimou Shaanxi
1997 小武 Pickpocket JIA Zhangke Anyang, Fenyang
1998 赵先生 Mr. Zhao LÜ Yue Shanghai
1999 一个都不能少 Not One Less ZHANG Yimou Shaanxi
2000 鬼子来了 Devil at the Doorstep JIANG Wen Tangshan
站台 Platform JIA Zhangke Anyang, Fenyang
2001 安阳婴儿 The Orphan Of Anyang WANG Chao Anyang
2002 寻枪 The Missing Gun LU Chuan Guizhou
任逍遥 Unknown Pleasure JIA Zhangke Fenyang
美丽的大脚 Pretty Big Feet YANG Yazhou Shandong
2004 世界 The World JIA Zhangke Fenyang
2005 孔雀 The Peacock GU Changwei Anyang
泥鳅也是鱼 Loach is Fish too YANG Yazhou Shandong, Shaanxi
红颜 Hong Yan LI Yu Sichuan
背鸭子的男孩 Taking Father Home YING Liang Sichuan
槟榔 Betelnut YANG Heng Hunan
2006 江城夏日 Luxury Car WANG Chao Wuhan
三峡好人 Still Life JIA Zhangke Fenyang, Sichuan
十三棵泡桐 Thirteen Princess Trees LÜ Yue Sichuan
雪花那个飘 Snow in the Wind YANG Yazhou Shaanxi
赖小子 Walking on the Wild Side HAN Jie Shanxi
疯狂的石头 Crazy Stone NIN Hao Sichuan, Shandong, Guangdong, Baoding, etc.
另一半 The Other Half YING Liang Zigong
2007 立春 And the Spring Comes GU Changwei Baotou
金碧辉煌 Fujian Blue WEN Shouming Fujian
2008 好猫 Good Cats YING Liang Zigong
2009 斗牛 Cow GUAN Hu Shandong
疯狂的赛车 Silver Medalist NING Hao Shandong, Mingnan, Wuhan, Sichuan, Shaanxi, etc.
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