{"title":"口是心非:数字音乐媒体中电影同步的竞争","authors":"Tomer Nechushtan","doi":"10.1386/ts_00015_1","DOIUrl":null,"url":null,"abstract":"The article explores the ways in which the boundaries of cinema are being tested by the transformation of historically formed lip-synching conventions by recent pop music films. While films based on computer-generated imagery rely on the familiar conventions of synchronizing images with the embodied voices of recognizable singer celebrities to regain an impression of corporeality, films created by and starring these same popular musicians choose to forgo this cinematic synchronization aesthetics. This asynchronization is not presented as an interruption within the film, as was often the case in the past, but rather as an alternative to sound cinema’s established vocal conventions of gender and race, as well as its hierarchies of technologies, industries and platforms.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Mouthing off: Contesting cinematic synchronization in digital music media\",\"authors\":\"Tomer Nechushtan\",\"doi\":\"10.1386/ts_00015_1\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The article explores the ways in which the boundaries of cinema are being tested by the transformation of historically formed lip-synching conventions by recent pop music films. While films based on computer-generated imagery rely on the familiar conventions of synchronizing images with the embodied voices of recognizable singer celebrities to regain an impression of corporeality, films created by and starring these same popular musicians choose to forgo this cinematic synchronization aesthetics. This asynchronization is not presented as an interruption within the film, as was often the case in the past, but rather as an alternative to sound cinema’s established vocal conventions of gender and race, as well as its hierarchies of technologies, industries and platforms.\",\"PeriodicalId\":253130,\"journal\":{\"name\":\"The Soundtrack\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2022-10-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"The Soundtrack\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1386/ts_00015_1\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"The Soundtrack","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/ts_00015_1","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Mouthing off: Contesting cinematic synchronization in digital music media
The article explores the ways in which the boundaries of cinema are being tested by the transformation of historically formed lip-synching conventions by recent pop music films. While films based on computer-generated imagery rely on the familiar conventions of synchronizing images with the embodied voices of recognizable singer celebrities to regain an impression of corporeality, films created by and starring these same popular musicians choose to forgo this cinematic synchronization aesthetics. This asynchronization is not presented as an interruption within the film, as was often the case in the past, but rather as an alternative to sound cinema’s established vocal conventions of gender and race, as well as its hierarchies of technologies, industries and platforms.
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