The Sound Between
Narrating Through Listening in Argentine Cinema
DOI:
https://doi.org/10.24215/2525085Xe067Keywords:
situated voice, sound space, historiophony, sonic memoryAbstract
This article examines the role of the voice in two key moments of Argentine cinema: Tire dié (Fernando Birri, 1960) and Los rubios (Albertina Carri, 2003). In both films, the voice detaches from the image and takes on a displaced, situated, and performative character. Rather than being a simple bearer of meaning, it embodies an affective and fragmentary memory that reshapes the sound space as a narrative device. Through a critical and narrative mode of listening, the article proposes a historiophony of Argentine cinema, where the voice functions as a sensitive trace with political and identity projections.References
Birri, F. (Director). (1960). Tire dié [Cortometraje documental]. Instituto de Cinematografía de la Universidad Nacional del Litoral.
Carri, A. (Directora). (2003). Los rubios [Película]. Aqua Films.
Chion, M. (2004). L’audio-vision: Son et image au cinéma [La audiovisión: Sonido e imagen en el cine]. [1990]. Nathan.
Del Carril, H. (Director). (1952). Las aguas bajan turbias [Película]. Argentina Sono Film.
Dolar, M. (2007). Una voz y nada más. Manantial.
Lefebvre, H. (2013). La producción del espacio. [1974]. Capitán Swing.
Noriega, G. (2009). Estudio crítico sobre Los rubios. Entrevista a Albertina Carri. Picnic Editorial.
Soffici, M. (Director). (1939). Prisioneros de la tierra [Película]. Argentina Sono Film.
Souriau, É. (1951). La structure de l’univers filmique et le vocabulaire de la filmologie. Revue Internationale de Filmologie, 2(7–8), 231–240.
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