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100   $a19870428d1988      uy             0
101 0 $aeng
135   $aur|n|---|||||
181   $ctxt$2rdacontent
182   $cc$2rdamedia
183   $acr$2rdacarrier
200 10$aInvisible storytellers $evoice-over narration in American fiction film /$fSarah Kozloff
210  1$aBerkeley :$cUniversity of California Press,$d1988.
215   $a1 online resource (178 pages) $cillustrations
311 0 $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
610   $aadaptation theory.
610   $aadaptations.
610   $aall about eve.
610   $aannie hall.
610   $abarry lyndon.
610   $abook to movie.
610   $adocumentary film.
610   $adouble indemnity.
610   $aexposition.
610   $afilm adaptation.
610   $afilm criticism.
610   $afilm interpretation.
610   $afilm studies.
610   $afilm technique.
610   $afilm theory.
610   $afilm.
610   $afilmmaking.
610   $ahow green was my valley.
610   $aliterature.
610   $amedia.
610   $anaked city.
610   $anarration.
610   $anarrative theory.
610   $anarrative.
610   $anewsreels.
610   $anonfiction.
610   $aopening frames.
610   $aplatoon.
610   $apopular culture.
610   $aradio.
610   $ared river.
610   $asilent film.
610   $astorytelling.
610   $atelevision.
610   $atv.
610   $avoice over.
610   $awuthering heights.
615  0$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   $a9910778470603321
996   $aInvisible storytellers$91220831
997   $aUNINA