![]() ![]() So Theodore purchases an OS, starts the installation, during which he is asked about his social life and relationship. When users speak to their computers, it is as if a real person answers. This new OS is fully personalized, manages all devices, and interacts with users in a real-time human-sounding voice. The launch of a new OS could not be more perfectly on time. These friends observe Theodore's loneliness and suggest that he try to find a lover. He has a spacious apartment, fashionable wardrobe, and a few attractive friends. Theodore is a lonely, middle-class bachelor. Her tells the story of Theodore Twombly, played wonderfully by Joaquin Phoenix, and his hyper-intelligent computer Operating System (OS), superbly voiced by Scarlett Johansson. A discussion of the latter demands an argument regarding the former. My essay is thus about sound and spectatorship as much as it is about celebrity and iconicity. For spectators, this second component provides an experiential link between their real world and the sci-fi world of the film. Her employs clear and precise mixing that enables spectators to feel the physicality of a fictional voice without body, and further, casts a famous actress as that off-screen voice to thus engage spectators' mental images of a real body. ![]() In Her, Jonze accomplishes an impressive rendition of reality through two interrelated aspects of filmmaking: first, the sound editing and sound mixing of the voice-actress, produced in such a way so as to intensify believability in the images, and second, by casting a specific type of voice-actress. My contribution to the theme of this issue of CineAction, then, is to argue that now, just as in classical Hollywood, sound is used to convince spectators of the reality of a fabricated world. Her demonstrates that in Hollywood new filmmaking technologies have not yet produced new ways of expressing the relationship between images and sounds. Nevertheless, Jonze's film functions as a superb example for a consideration of contemporary Hollywood's use of sound and the role of sound in spectatorship theory. This failure is due to the theoretical and experiential conclusion that an off-screen voice is always attached to a body. Despite centering its story on the sound of a voice, however, the film ultimately fails on the whole to experiment with the denigration of vision. Her certainly attempts to downplay the dominance of the visual. As Jacob Smith contends via a study of the films of Stephen Sayadian, sound is essential "in the cinematic depiction of sexual fantasy." (2) He agreed to write half this article, based on his perspective of our. Without the careful mixing and editing of the dialogue, this sci-fi romance could have been too unbelievable perhaps, and the film may have been a critical failure. Spike Jonze hopes the high-tech love story of Her will make you cry. ![]() (1) At first glance and listen, it would seem as though the exchanges between the lead onscreen voice and the lead off-screen voice generates this authenticity. For director Spike Jonze and many of his critics, the authentic, genuine, and believable quality of the love story in Her (2013) constitutes the film's richest aspect. ![]()
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