BEYOND THE VISUAL CITY: THE SOUND OF SPACE IN FERNANDO PÉREZ'S SUITE HABANA.
This article considers the role of sound in the production of space and subjectivity, as seen in Cuban director Fernando Pérez's 2003 film, Suite Habana. It argues that sound modifies the film's ideological and visual representations of the city by creating an aural imaginary that represents an affe...
| Publicado en: | Hispanic Review Vol. 82; no. 2; pp. 199 - 221 |
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| Autor principal: | |
| Formato: | Film/TV Criticism and Review |
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University of Pennsylvania Press
Spring2014
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=95774580&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 95774580 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00182176 HIR jtl: Hispanic Review issn: 00182176 maglogo: N pubinfo: dt: Spring2014 vid: 82 iid: 2 pid: 4636 pub: University of Pennsylvania Press artinfo: ui: 95774580 10.1353/hir.2014.0019 ppf: 199 ppct: 22 formats: fmt: @attributes: type: P size: 223KB tig: atl: BEYOND THE VISUAL CITY: THE SOUND OF SPACE IN FERNANDO PÉREZ'S SUITE HABANA. aug: au: Gentic, Tania affil: Georgetown University su: Suite Habana (Film) Perez, Fernando Sound in motion pictures Cuban films Cities & towns in motion pictures Motion picture music sug: subj: Suite Habana (Film) Perez, Fernando Sound in motion pictures Cuban films Cities & towns in motion pictures Motion picture music ab: This article considers the role of sound in the production of space and subjectivity, as seen in Cuban director Fernando Pérez's 2003 film, Suite Habana. It argues that sound modifies the film's ideological and visual representations of the city by creating an aural imaginary that represents an affective and corporeally felt notion of community. In this way, sound not only links unrelated characters to one another on the screen, it also expands the enclosed, visual experience of the city into a soundscape that connects the space on the screen to the space of the theater or the home of the audio-viewer. Sound thus unites otherwise disparate subjects into a sonic community that crosses spatial boundaries. The article grounds its arguments in analyses of voice, music, and the construction of both acousmatic and hyperreal sound in the film. pubtype: Academic Journal doctype: Film/TV Criticism and Review src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Hispanic Review is the property of University of Pennsylvania Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Hispanic Review holder: University of Pennsylvania Press dt: @attributes: year: 2014 holdings: @attributes: islocal: N |
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