Echoes and Resonances from the Movie Theater: The Disembodied Voices in Ojo Guareña (Edurne Rubio, 2018)
Abstract
The article proposes an approach to the “disembodied voices” (Doane, 1980) present in the documentary feature film Ojo Guareña (2018), by visual artist Edurne Rubio. From a review of the theoretical debates that, so far, have addressed the issue of disembodied voices in documentary film and in parallel to issues related to the technological development of sound capture and emission (up to the “relocation of cinema” [Casetti, 2012]), an analysis of the proposed case is carried out. The case is especially interesting if we consider the spatial and resonant use of disembodied voices, arranged on black screen and chiseled as text on it. These voices are the main means by which a certain spectatorial experience is achieved, which is rooted in the analogy between cinema and cave and, therefore, makes the film preferably conceived for its projection in the movie theatre.
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