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dc.contributor.authorLovatt, Philippa
dc.date.accessioned2018-12-01T00:50:38Z
dc.date.available2018-12-01T00:50:38Z
dc.date.issued2016-12-01
dc.identifier.citationLovatt , P 2016 , ' Breathing bodies : sounding subjectivity in the war film ' , Music, Sound, and the Moving Image , vol. 10 , no. 2 , pp. 167-188 . https://doi.org/10.3828/msmi.2016.9en
dc.identifier.issn1753-0768
dc.identifier.otherPURE: 252058674
dc.identifier.otherPURE UUID: c65e1449-a54c-4c99-9800-17703745304a
dc.identifier.otherORCID: /0000-0001-9369-8169/work/65014601
dc.identifier.urihttp://hdl.handle.net/10023/16604
dc.description.abstractIn this article, through close comparative analysis of the sound design of two Iranian films, Bahram Beizai’s Bashu, The Little Stranger (Bashu, gharibeye koochak, 1990) and Bahman Ghobadi’s Turtles Can Fly (Lakposhtha parvaz mikonand, 2004), I argue that sound can play a crucial restorative role by articulating a sense of characters’ agency and subjectivity so often denied to civilian victims of war, both in official records and in their cinematic representation. As such, I claim that the films offer a radical alternative to dominant conceptualisations of war as depicted in Hollywood cinema, challenging and broadening our understanding of the genre as well as potentially deepening our understanding of the impact of war on the lives of civilians and refugees.
dc.language.isoeng
dc.relation.ispartofMusic, Sound, and the Moving Imageen
dc.rights© 2016, Liverpool University Press. This work has been made available online in accordance with the publisher’s policies. This is the author created, accepted version manuscript following peer review and may differ slightly from the final published version. The final published version of this work is available at https://doi.org/10.3828/msmi.2016.9en
dc.subjectPN1993 Motion Picturesen
dc.subjectBDCen
dc.subjectR2Cen
dc.subject.lccPN1993en
dc.titleBreathing bodies : sounding subjectivity in the war filmen
dc.typeJournal articleen
dc.description.versionPostprinten
dc.contributor.institutionUniversity of St Andrews.Film Studiesen
dc.identifier.doihttps://doi.org/10.3828/msmi.2016.9
dc.description.statusPeer revieweden
dc.date.embargoedUntil2018-12-01


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