Index
A
Abraham Lincoln,149
Ace in the Hole,163
The Adventures of Huckleberry Finn,172 , 194 n. 1
The Affairs of Anatol,163
Agee, James, 155 -56, 158 , 164
Alexander Nevski,67 -68, 190 n.7
Alford, Philip, 170
All Quiet on the Western Front,40 , 76
Altman, Rick, 113 , 117 , 191 n.11
Anderson, Maxwell, 40 , 105
Andrew, Dudley, 98
Anna Christie,88
Applause, 77
Arnheim, Rudolf, 22 -23, 25 , 92 , 189 n.31, 191 n.11
Audio-spectacle, 96 -98. See also Miss Sadie Thompson; Notorious
B
Baby Doll, 196 n.28
Bacall, Lauren, 88
Badham, Mary, 168 , 170 , 184 , 195 n.12
Bailey, Pearl, 193 n.2
Bakhtin, Mikhail:
on heteroglossia and dialogue, 38 -39, 43 -44, 46 -53, 58 -60, 72 ;
on "comic style" and parody, 53 -54;
on unitary language, 54 -59;
on hybridization, 76 , 77
Balázs, Béla, 191 n.11
Barna, Yon, 190 n.7
Barr, Charles, 117 , 120 -21
Barrie, Joan, 117
Barrymore, Ethel, 113
Barrymore, Lionel, 69
Barthes, Roland, 23 -25, 27 , 44 , 73 , 96 , 104 , 190 n.1
Battleship Potemkin,67
Baudry, Jean-Louis, 19 -20
Bazin, André, 120
Belafonte, Harry, 193 n.2
The Bells of St. Mary's,126
Beloved, 196 n.33
Benjamin, Walter, 16
Benshi, 66 -67
Bergman, Ingrid, 125 , 128 , 130 ;
accent of, 125 -26, 192 n.5
Bergstrom, Janet, 87 , 127
Berliner, Emile, 15 , 17 , 188 n.6
Bernhardt, Curtis, 35 -36, 40
Bernstein, Elmer, 180
Best, Edna, 125
Betty Boop, 88
The Bible, 150
The Big Parade,74
The Big Sleep,180
Black, David Alan, 20 , 189 n.33
Blackmail, 5 , 6 , 77 , 111 , 125 , 145 , 192 n.4;
sound recording and the woman's voice in, 112 , 116 -19;
women's silence in, 116 , 121 -25;
superiority of sound film over silent film, 119 , 120 -21, 123 -24;
rape scene in, 120 -21;
comparison with silent version, 120 -21;
"knife" scene in, 121 -22;
music in, 120 , 121 , 123
The Blue Angel,77
The Blue Gardenia,122
Bondi, Beulah, 79
Bordwell, David, 31 , 36 , 71 , 77 , 81 , 87 , 91 , 93 -94
Brackett, Charles, 154 , 163 -64
Brando, Marlon, 150
Brent, George, 113
Burch, Noël, 65 -67, 68 , 90 , 188 n.9, 190 n.4
C
Caldwell, Erskine, 196 n.22
Capote, Truman, 181 , 196 n.28
Carmen Jones,193 n.2
Caruso, Enrico, 17 , 21
Casablanca, 126
Cat on a Hot Tin Roof,181
Cavell, Stanley, 19
Chabrol, Claude, 191 n.3
Chion, Michel, 26
Chodorow, Nancy, 27
Citizen Kane,150
Cixous, Hélène, 86 , 194 n.9
Clair, René, 191 n.11
Cocteau, Jean, 132
The Color Purple,185 , 196 nn.36,37
Colton, John, 36 , 40 , 44 -45, 48 -54, 58 , 60 , 105 . See also Rain (1921; play); Rain (1932; film)
Comolli, Jean-Louis, 19 , 21 , 26 , 129
Cook, David, 9 , 188 n.11
Cook, Pam, 176 , 193 n.16
Corey, Wendell, 137
Corliss, Richard, 193 n.4
Crawford, Joan, 40 , 88 , 96 , 191 n.5
D
Dandridge, Dorothy, 193 n.2
De Cordova, Richard, 129
De Mille, Cecil B., 155 , 162 -65, 194 n.12
Desjardin, Mary, 195 n.19
The Devil and Daniel Webster,149
Dialogue, 39 , 46 -60
Dickens, Charles, 52
Dietrich, Marlene, 88
Dijkstra, Bram, 192 n.8
Dinnerstein, Dorothy, 182
Dirty Gertie from Harlem U.S.A.,190 n.2
D. O. A., 160 , 195 n.5
Doane, Mary Ann, 24 , 73 , 96 , 101 -2, 114 , 119 , 125 , 127 , 129 , 135 , 144 , 148 , 157 -58, 184 , 191 n.8, 196 n.34
Dodsworth, 149
Doherty, Edward, 190 n.3
Don't Change Your Husband,163
Double Indemnity,160 , 195 n.5
Dyer, Richard, 88
E
Eagels, Jeanne, 40 , 190 n.3
Eastwood, Clint, 150
Echo:
story, 1 -3, 6 -7;
and woman's voice in, 111 , 118 , 154 , 156 , 165 .
See also Sunset Boulevard
Edison, Thomas, 11 -13, 15 , 19 , 30 , 188 nn.6,8
Eisenstein, Sergei, 92 , 190 n.7, 191 n.11
Eisler, Hanns, 96 , 191 n.8
Ellis, John, 176
F
Farrow, Mia, 157
Faulkner, William, 183
Ferrer, Jose, 40 , 152
Fischer, Lucy, 96
Fleming, Rhonda, 114
Fletcher, Lucille, 192 n.7
Foote, Horton, 195 n.6
Ford, John, 75 , 174 , 176
For Whom the Bell Tolls,192 n.5
French, Brandon, 158 , 162 -63, 194 n.8
Freud, Sigmund, 113 , 153
Freud, 136
The Front Page,40 , 76
Froula, Christine, 185
The Fugitive Kind,196 n.28
G
Gabriel Over the White House,149
Gallop, Jane, 178
Garbo, Greta, 88 , 162
Gargan, William, 75 , 191 n.5
Gaze, 6 , 10 , 110 -11. See also The Spiral Staircase
Gelatt, Roland, 12 , 13 , 16 -17, 18 -19, 188 n.11, 189 n.19
Gilda, 149
Glass, Louis, 15
The Glass Menagerie,196 n.28
The Goddess,195 n.3
God's Little Acre,181
Gone With the Wind,195 n.12
Grant, Cary, 126 , 128
Greimas, A. J., 104
Griffith, D. W., 165 , 174 , 192 n.10, 195 n.19
Guys and Dolls,150
H
Hallelujah!,190 n.2
Hamilton, Margaret, 159
Hamlet, 194 -95n.1
Haskell, Molly, 193 n.4
Hays, Will, 60
Hays Code, 153 . See also Production Code
Hayworth, Rita, 40 , 146 -49, 150
Heath, Stephen, 12 , 188 n.9
Hepburn, Katharine, 181
Hirsch, Marianne, 182 , 196 n.33
Hitchcock, Alfred, 117 , 118 , 119 -21, 123 , 125 , 127 , 129 , 131 -32, 192 nn.4,6
Hite, Molly, 185 , 196 n.37
Holden, William, 155 , 161 , 162 , 194 n.11
Hopper, Hedda, 165
Howard, Leslie, 125
Hurston, Zora Neale, 196 n.37
Huston, John, 150
Huston, Walter, 80 , 101 , 149 -50
Hutton, Betty, 162
Hypnosis, 27 -29, 100 -101
I
Intermezzo, 125
Ives, Burl, 181
J
Jacobs, Lea, 96 , 129
James, Alice, 131 , 192 n.8
James, Henry, 17 , 131
Jameson, Fredric, 36
Jane Eyre, 112
Joan of Arc,126
Johnston, Claire, 87 , 128 -29
Jolson, Al, 151
The Jolson Story,151
Jones, James Earl, 193 n.2
K
Kaplan, E. Ann, 116 , 122 -23, 187 nn.3,5
Kerr, Walter, 68
Kibbee, Guy, 75
The Killers,135
Kinder, Marsha, 173
Kozloff, Sarah, 195 nn.4,5
Kristeva, Julia, 23 -24, 169 ;
on language in carnival, 53 -54;
on Menippean discourse, 56 -58, 72 , 86 , 182 , 184
Kubie, Lawrence S., 28 -29
Kuhn, Annette, 49 , 86 , 87 , 110 -11, 118 -19, 128 -29, 134 -35, 145 , 180 , 183
L
Lacan, Jacques, 25 -27, 116 , 182
Ladd, Alan, 162
Lamarr, Hedy, 163
Lancaster, Burt, 130
Lang, Fritz, 122
La Place, Maria, 191 n.2
LaRoque, Rod, 162
Laura, 160
La Voix humane,132
Lee, Harper (Nellie), 169 -71, 175 , 177 , 180 -82, 184 , 195 nn.11,18, 196 nn.28,30,31
Leigh, Vivien, 195 n.12
Levin, Tom, 19 -21
Lewisohn, Ludwig, 50
Listening, 4 , 11 , 22 -30, 127 -29;
and hearing as "reading," 19 -20.
See also Sorry, Wrong Number
Litvak, Anatole, 135 , 193 n.12
The Lonely Villa,134 , 192 n.10
Lumière brothers, 12 , 188 nn.9,11
M
M,77
McCullers, Carson, 181 , 196 n.28
McFerrin, Robert, 151
McGuire, Dorothy, 109
McKay, Anne, 17 , 29 -32, 187 n.4
McKinney, Nina Mae, 190 n.2
Male and Female,163
Marey, Etienne-Jules, 9
Margolin, Sydney, 28 -29
Marie, Michel, 88
Marvin, Lee, 150
Mast, Gerald, 19
Mature, Victor, 163
Maugham, W. Somerset, 35 -36, 39 -43, 48 -52, 54 , 79 , 80 , 88 , 101 , 147 , 151 , 153
Member of the Wedding,196 n.28
Metropolis, 67
Metz, Christian, 2 , 19 , 87 ;
on film and theater, 60 , 97 -98
Mildred Pierce,22 , 134 , 142 , 193 n.16
Milestone, Lewis, 35 , 40 , 76 , 81 , 91 , 191 nn.4,5
Miranda, Carmen, 194 n.13
Mission to Moscow,149
Miss Sadie Thompson,5 , 36 , 40 , 146 ;
visual and auditory spectacle in, 147 -49, 150 -54;
race and gender in, 147 -48, 193 n.2;
male voices in, 149 -52, 193 n.1;
asynchrony and women's voices in, 150 , 152 -54;
asynchrony and race in, 151 ;
rape scene in, 153
"Miss Thompson" (short story), 35 -36, 40 -44, 79 ;
and difference between story and play, 44 -46, 48 -54, 61 .
See also Rain (1921; play)
Moana, 74
Modleski, Tania, 192 n.4
Montez, Maria, 194 n.13
Moorehead, Agnes, 141
Morrison, Toni, 196 n.33
Mulligan, Robert, 195 n.6
Mulvey, Laura, 49 , 87 , 110
Music, 73 , 82 . See also Blackmail; Rain (1932; film); Silent films
Muybridge, Eadweard, 9
N
Napoleon, 67
Narcissus:
story of, 1 -2, 6 -7, 193 n.4;
and the image, 111 , 154 , 156 , 165 .
See also Sunset Boulevard
Nazimova, Alla, 163
Night of the Iguana,196 n.28
Nothing Sacred,51
Notorious, 5 , 111 , 145 , 192 nn.4,6;
phonographs and asynchrony of the woman's voice in, 112 , 127 -29;
Bergman's accent in, 125 -27, 192 n.5;
woman's voice as audio-spectacle in, 125 -27, 129 -30
O
O'Connor, Flannery, 181
Of Mice and Men,191 n.4
Ondra, Anny, 117 -18
Ovid, 1 -2, 156
P
Paint Your Wagon,150
Parks, Larry, 151
Peck, Gregory, 168 , 170 , 173 , 177 , 195 n.6
Phonographs, 3 , 6 , 10 , 12 , 25 , 29 ;
early exhibition practices, 12 , 14 ;
early attempts at commercialization, 12 -14;
production, 13 ;
home recording, 13 -15, 25 -26;
cylinder machines, 15 ;
Graphophones, 15 ;
Gramophones, 15 , 18 -19, 188 n.6;
technical flaws, 18 -19.
See also Notorious; Records; Sound recording technology
Photography:
as model for phonograph records, 13 -14
Place, Janey, 158 , 193 n.4
Poitier, Sidney, 151
Porgy and Bess,151
Power, Tyrone, 162
Preminger, Otto, 193 n.2
Pride of the Marines,160
Production Code, 101 , 142 . See also Hays, Will; Hays Code
Prokofiev, Sergei, 190 n.7
Pronunciation, 80
The Purple Rose of Cairo,157
Q
Queen Christina,88
Queen Kelly,157 -58
R
Radio, 3 , 9 , 10 , 16 , 21 , 22 -23, 28 , 37 , 132 ;
women announcers in, 17 -18, 31 -32;
problems with transmitting women's voices in, 31 -32.
See also Sorry, Wrong Number
Rain (1921; play), 35 , 36 , 40 , 44 -46, 48 -54, 60 , 91 -92;
excerpts from, 45 , 51 -58, 61 , 68 , 91 -92, 190 nn.5,6;
introduction to, 50
Rain (1932; film), 4 -5, 35 -37, 39 , 51 , 54 -55, 70 , 111 , 148 , 149 , 151 ;
hierarchies of image, sound, and dialogue in, 71 -72, 74 -77, 87 , 93 -94, 99 -100, 102 -3, 106 ;
theatrical discourse in, 72 , 74 , 89 -90;
opening scenes of, 72 -77;
music in, 74 -75, 77 , 82 -83, 86 -87, 88 -89, 102 -5, 106 ;
racism in, 75 -76;
incoherent space in, 77 -78, 80 -82;
use of swish pan in, 77 -79, 96 -97;
the ship in, 77 -83;
camera movement in, 82 , 88 , 191 n.4;
"Sadie" montage in, 83 -87, 103 -4;
six-minute tracking shot in, 90 -95, 191 n.5;
"tirade" in, 95 -96;
voice exceeds language in, 96 -102, 106 ;
Sadie's conversion in, 98 -104;
undercranking in, 102 -3;
conclusion of, 105 -7
Rakow, Lana, F., 20 -21, 132 , 192 nn.9,11
Randolph, Clemence, 36 , 40 , 44 -45, 48 -54, 58 , 60 , 105 . See also Rain (play; 1921); Rain (film; 1932)
Rape, 115 , 191 n.3. See also Blackmail; Miss Sadie Thompson; The Spiral Staircase; To Kill a Mockingbird
Ray, Aldo, 40 , 147
Read, Oliver, 15 , 17
Rear Window,131 -32, 143
Records, 11 , 12 , 26 , 189 n.19;
prerecorded cylinders, 15 , 22 , 37 ;
used to sell phonographs, 16 -17;
music vs. "talking records," 16 , 17 -18.
See also Phonographs
Renov, Michael, 126 -27, 192 n.6
Ritchard, Cyril, 121
Rohmer, Eric, 191 n.3
Romeo and Juliet,194 -95n.1
The Rose Tattoo,196 n.28
Rosolato, Guy, 22 , 24 , 26 -27, 188 n.7, 191 n.1
Ross, Andrew, 194 n.13
Rossellini, Roberto, 132
S
Sadie Thompson,4 , 5 , 34 , 35 -36, 89 , 92 , 93 , 99 , 111 , 148 , 151 , 191 n.10;
tirade in, 60 -69, 95 ;
conversion scene in, 98 -99;
missing last reel of, 102
Samson and Delilah,163 , 194 n.12
Sanctuary, 181
Sayers, Dorothy L., 54
The Scarlet Empress,129
Schenck, Joseph, 40
Sergeant Rutledge,176
Shaw, Mary, 75
Silent films, 4 , 6 , 35 , 37 , 39 , 68 -69, 156 -58, 190 n.4;
early exhibition practices for, 12 ;
relation between image and dialogue in, 60 -67;
relation between image, music, sound effects in, 67 -68, 73 -77, 86 -87;
and women, 71
Silver, Alain, 192 n.7
Silverman, Kaja, 6 , 10 , 25 -27, 148 -52, 160 , 177 , 182 , 184 , 188 n.7, 189 n.35, 191 n.1, 193 n.3, 195 n.5, 196 n.35
Sinatra, Frank, 150
Siodmak, Robert, 135 , 193 n.12
The Slender Thread , 132
Smith, Kent, 115
Smith-Rosenberg, Carroll, 192 n.8
Sorry, Wrong Number , 6 , 108 , 111 , 159 ;
women and the telephone in, 112 , 130 -34, 192 n.10;
telephone operators in, 130 ;
and the original radio drama, 130 , 138 , 140 -42, 144 -45, 192 n.7, 193 n.17;
radio and hearing in, 130 , 135 , 137 -38, 144 ;
relation between image and sound track in, 130 , 142 -44, 193 n.13;
and comparison with Rear Window , 131 -32;
hearing as superior to seeing, 131 -32, 135 , 139 -40;
German expressionist elements in, 135 -37;
flashbacks in, 135 -38;
shot/reverse shot in, 135 , 137 , 144 ;
temporal and spatial continuity in, 138 -39;
telephone technology in, 138 -39;
music and sound effects in, 139 , 143 , 145 ;
poster for, 193 n.14
The Sound and the Fury (film), 181
The Sound and the Fury (novel), 183
Sound film:
"Talkies," 4 -5, 10 , 22 , 37 ;
hierarchies of image, dialogue, and sound track, 6 -7, 71 -72, 76 -77, 169
Sound recording technology, 3 -5, 12 , 188 n.7;
the industry and commercialization of, 4 , 12 -13, 15 , 188 n.8;
ideology of, 9 , 11 , 21 , 71 , 111 ;
early flaws in, 18 -19;
mechanical neutrality of, 18 -20, 107 , 111 ;
and problems with recording women's voices, 29 -32.
See also Blackmail
The Spiral Staircase , 6 , 111 -12, 135 , 145 , 192 -93n.12;
the gaze in, 109 , 112 -15;
rape scene in, 113 , 115 ;
woman's silence in, 115 -16
Spoto, Donald, 191 n.3
Staiger, Janet, 31 , 36 , 71 , 77 , 81 , 87 , 91 , 93 -94
Stanley, Kim, 181 , 184 , 195 n.3
Stanwyck, Barbara, 108 , 130
A Streetcar Named Desire , 196 n.28
Suddenly Last Summer , 181 , 196 n.28
Summer and Smoke , 196 n.28
Sunset Boulevard , 6 -7, 154 ;
and Echo and Narcissus, 154 , 156 , 165 ;
male voice-over narration in, 154 , 156 , 159 -60, 164 -65, 195 n.5;
Norma's voice in, 154 , 161 ;
and the industry, 154 , 156 -58, 162 -66;
and attitudes toward Norma Desmond, 156 , 193 n.4, 194 n.13;
Norma's overinvestment in the image in, 157 -58;
and Norma as Medusa, 159 -60, 193 n.4;
Joe's synchronized voice in, 160 -62
Swanson, Gloria, 34 , 35 , 40 , 60 , 69 , 154 , 155 , 158 , 163
Sweet Bird of Youth , 181
T
Taylor, John Russell, 171 , 195 n.6
Telephone, 3 , 6 , 9 -10, 11 , 159 , 192 nn. 9, 10 , 11 ;
operators, 10 , 20 -21;
as model for phonograph sales, 13 ;
and AT&T, 143 , 188 n.15.
See also Sorry, Wrong Number
Telotte, J. P., 159 -60, 187 n.5
Temple, Shirley, 173
Thompson, Kristin, 31 , 36 , 71 , 77 , 81 , 87 , 91 , 93 -94
Tobacco Road , 196 n.22
To Have and Have Not , 88
To Kill a Mockingbird , 7 , 168 , 195 n.11, 196 n.32;
and the authorial voice, 169 -71, 178 , 180 -86;
the novel, 169 -71, 180 -81, 194 n.1, 195 n.18, 196 n.20;
woman as narrator in, 170 , 180 -82, 184 , 195 n.3, 196 nn.20,34;
relationship between women in the text of, 170 , 174 -75, 182 -84, 186 ;
rape scene in, 171 , 173 -77;
relationship of father and the law in, 171 -79, 185 ;
mothers and language in, 171 -72, 182 -83, 185 ;
and Harper Lee's family, 171 , 196 nn.30,31;
and race, 174 , 176 , 179 ;
accents and women's voices in, 177 , 184 -86, 196 n.35;
and superiority of literature over law, 180 , 181 -86;
and "Southern Gothic" genre, 181 , 184
Twain, Mark, 192 n.9
V
Valentino, Rudolf, 162 , 194 n.11
Vernet, Marc, 113
Vertov, Dziga, 23
Voices:
culture and women's, 9 -10;
women's, as commodities, 10 , 17 -18, 20 -21;
of loved ones, 11 -12, 14 , 188 n.6;
and relation to the body, 23 -25;
and relation to language, 23 ;
as fetish, 23 ;
maternal, 24 -29;
and "deficiency" of women's, 29 -30;
and race, 193 n.2.
See also Miss Sadie Thompson; Notorious; Rain (1932; film); The Spiral Staircase
von Stroheim, Erich, 165 , 192 -93n.12
W
Walker, Alice, 185 , 196 n.36
Walsh, Raoul, 34 , 35 , 40 , 75 , 148
Ward, Elizabeth, 192 n.7
"War of the Worlds," 135 , 138
Welch, Walter, 15 , 17
Welles, Orson, 135 , 150
White Zombie , 191 n.2
Why Change Your Wife? , 163
Why We Fight (series), 149
Wilcox, Collin, 175 , 184
Wilcoxin, Henry, 194 n.12
Wilde, Oscar, 163
Wilder, Billy, 154 , 163 -64
Williams, Alan, 19 -20
Williams, Linda, 114
Williams, Mark, 195 n.19
Williams, Raymond, 36 -38
Williams, Tennessee, 181 , 196 n.28
Wills, David, 79 , 86 -87
The Wizard of Oz , 159
Wolfe, Thomas, 171
Y
Yankee Doodle Dandy , 149
York, Susannah, 136
Young Mr. Lincoln , 173
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