LEADER 03523nam 2200673 a 450 001 9910455307303321 005 20200520144314.0 010 $a1-282-35560-0 010 $a9786612355608 010 $a0-520-90966-6 024 7 $a10.1525/9780520909663 035 $a(CKB)1000000000799768 035 $a(EBL)470949 035 $a(OCoLC)609850091 035 $a(SSID)ssj0000361907 035 $a(PQKBManifestationID)11242453 035 $a(PQKBTitleCode)TC0000361907 035 $a(PQKBWorkID)10353237 035 $a(PQKB)10017743 035 $a(MiAaPQ)EBC470949 035 $a(OCoLC)733996994 035 $a(MdBmJHUP)muse31035 035 $a(DE-B1597)519229 035 $a(DE-B1597)9780520909663 035 $a(Au-PeEL)EBL470949 035 $a(CaPaEBR)ebr10676221 035 $a(CaONFJC)MIL235560 035 $a(EXLCZ)991000000000799768 100 $a19870428d1988 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aInvisible storytellers$b[electronic resource] $evoice-over narration in American fiction film /$fSarah Kozloff 210 $aBerkeley $cUniversity of California Press$dc1988 215 $a1 online resource (178 p.) 300 $aIncludes index. 311 $a0-520-06793-2 320 $aIncludes filmography (p. 141-153). 320 $aIncludes bibliographical references (p. 155-160) and index. 327 $tFrontmatter --$tContents --$tAcknowledgments --$tIntroduction --$t1. The Prejudices against Voice-Over Narration --$t2. Ancestors, Influences, and Development --$t3. First-Person Narrators --$t4. Third-Person Narrators --$t5. Irony in Voice-Over Films --$tConclusion --$tNotes --$tFilmography --$tBibliography of Works Cited --$tIndex 330 $a"Let me tell you a story," each film seems to offer silently as its opening frames hit the screen. But sometimes the film finds a voice-an off-screen narrator-for all or part of the story. From Wuthering Heights and Double Indemnity to Annie Hall and Platoon, voice-over narration has been an integral part of American movies.Through examples from films such as How Green Was My Valley, All About Eve, The Naked City, and Barry Lyndon, Sarah Kozloff examines and analyzes voice-over narration. She refutes the assumptions that words should only play a minimal role in film, that "showing" is superior to "telling," or that the technique is inescapably authoritarian (the "voice of god"). She questions the common conception that voice-over is a literary technique by tracing its origins in the silent era and by highlighting the influence of radio, documentaries, and television. She explores how first-person or third-person narration really affects a film, in terms of genre conventions, viewer identification, time and nostalgia, subjectivity, and reliability. In conclusion she argues that voice-over increases film's potential for intimacy and sophisticated irony. 606 $aVoice-overs 606 $aMotion picture plays, American$xHistory and criticism 606 $aMotion pictures$zUnited States 608 $aElectronic books. 615 0$aVoice-overs. 615 0$aMotion picture plays, American$xHistory and criticism. 615 0$aMotion pictures 676 $a791.43/0973 700 $aKozloff$b Sarah$0625446 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910455307303321 996 $aInvisible storytellers$91220831 997 $aUNINA