Please use this identifier to cite or link to this item:
Full metadata record
DC FieldValueLanguage
dc.contributor.authorLovatt, Philippaen_UK
dc.description.abstractPost 9/11 the ‘invisibility’ of political prisoners as part of the ‘war on terror’ has had a direct correlation with the concealment of abusive treatment of detainees in the detention camps at Guantánamo Bay and Abu Ghraib. Details of these abuse scandals have indicated that there has been a notable shift away from the optical towards the sonic as a form of punishment and torture, with accounts of detainees being subjected to rock music played for prolonged periods at excruciating volumes (Smith, 2008). Addressing a number of key concerns – sound and phe- nomenology, sound and the ethics of spectatorship, sound and the experience/intensification of confinement, sound as a (potential) mode of resistance/control – this paper will investigate the use of sound in cinematic depictions of imprisonment including A Man Escaped (Bresson, 1956), Hunger (McQueen, 2008) and Zero Dark Thirty (Bigelow, 2012). The aim is to explore how an auditory perspective might complicate previously held ocularcentric conceptions of power in penal institutions (Foucault, 1977) and to examine how this experience of sound is represented on screen. The essay also considers how sound design can bridge the distance between self and other, and align the spectator emotionally, ethically and politically with a film’s characters. The essay thus proposes that an ethical spectatorship may require cinematic auditors to listen more critically, and it claims that a better understanding of the fundamental role that sound and listening play in the articulation and recognition – or indeed, disavowal – of the subjectivity of prisoners within these narratives may lead to an increased awareness of the politics of aesthetics of individual films. The essay concludes by suggesting that the field of sound studies creates further opportunities for research that explores these important questions about representation, spectatorship and ethics from a range of disciplinary perspectives.en_UK
dc.publisherAarhus Universityen_UK
dc.relationLovatt P (2015) Carceral Soundscapes: sonic violence and embodied experience in film about imprisonment. SoundEffects, 5 (1), pp. 25-39.
dc.rightsAuthor retains copyright. Proper attribution of authorship and correct citation details should be given. Contact author for permissionsen_UK
dc.subjectsound designen_UK
dc.subjectsonic violenceen_UK
dc.subjectethics of listeningen_UK
dc.subjectprison filmsen_UK
dc.subjectcarceral geographyen_UK
dc.titleCarceral Soundscapes: sonic violence and embodied experience in film about imprisonmenten_UK
dc.typeJournal Articleen_UK
dc.type.statusVoR - Version of Recorden_UK
dc.contributor.affiliationCommunications, Media and Cultureen_UK
rioxxterms.apcnot chargeden_UK
rioxxterms.typeJournal Article/Reviewen_UK
local.rioxx.authorLovatt, Philippa|en_UK
local.rioxx.projectInternal Project|University of Stirling|
Appears in Collections:Communications, Media and Culture Journal Articles

Files in This Item:
File Description SizeFormat 
Lovatt_SoundEffects_2015.pdfFulltext - Published Version233.78 kBAdobe PDFView/Open

This item is protected by original copyright

Items in the Repository are protected by copyright, with all rights reserved, unless otherwise indicated.

The metadata of the records in the Repository are available under the CC0 public domain dedication: No Rights Reserved

If you believe that any material held in STORRE infringes copyright, please contact providing details and we will remove the Work from public display in STORRE and investigate your claim.