Engaging Dialogue: Cinematic Verbalism in American Independent Cinema
Examining the centrality of dialogue to American independent cinema, Jennifer O’Meara argues that it is impossible to separate small budgets from the old adage that ‘talk is cheap’. Focusing on the 1980s until the present, particularly on the films by writer—directors like Jim Jarmusch, Noah Baumbach and Richard Linklater, this book demonstrates dialogue’s ability to engage audiences and bind together the narrative, aesthetic and performative elements of selected cinema. Questioning the association of dialogue—centred films with the ‘literary’ and the ‘un—cinematic’, O’Meara highlights how speech in independent cinema can instead hinge on what is termed ‘cinematic verbalism’: when dialogue is designed and executed in complex, medium—specific ways.
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Engaging Dialogue: Cinematic Verbalism in American Independent Cinema
Examining the centrality of dialogue to American independent cinema, Jennifer O’Meara argues that it is impossible to separate small budgets from the old adage that ‘talk is cheap’. Focusing on the 1980s until the present, particularly on the films by writer—directors like Jim Jarmusch, Noah Baumbach and Richard Linklater, this book demonstrates dialogue’s ability to engage audiences and bind together the narrative, aesthetic and performative elements of selected cinema. Questioning the association of dialogue—centred films with the ‘literary’ and the ‘un—cinematic’, O’Meara highlights how speech in independent cinema can instead hinge on what is termed ‘cinematic verbalism’: when dialogue is designed and executed in complex, medium—specific ways.
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Engaging Dialogue: Cinematic Verbalism in American Independent Cinema

Engaging Dialogue: Cinematic Verbalism in American Independent Cinema

by Jennifer O'Meara
Engaging Dialogue: Cinematic Verbalism in American Independent Cinema

Engaging Dialogue: Cinematic Verbalism in American Independent Cinema

by Jennifer O'Meara

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$130.00 
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Overview

Examining the centrality of dialogue to American independent cinema, Jennifer O’Meara argues that it is impossible to separate small budgets from the old adage that ‘talk is cheap’. Focusing on the 1980s until the present, particularly on the films by writer—directors like Jim Jarmusch, Noah Baumbach and Richard Linklater, this book demonstrates dialogue’s ability to engage audiences and bind together the narrative, aesthetic and performative elements of selected cinema. Questioning the association of dialogue—centred films with the ‘literary’ and the ‘un—cinematic’, O’Meara highlights how speech in independent cinema can instead hinge on what is termed ‘cinematic verbalism’: when dialogue is designed and executed in complex, medium—specific ways.

Product Details

ISBN-13: 9781474420624
Publisher: Edinburgh University Press
Publication date: 04/13/2018
Series: Traditions in American Cinema
Pages: 232
Product dimensions: 6.14(w) x 9.21(h) x (d)

About the Author

Dr Jennifer O’Meara is an Associate Professor of Film Studies at Trinity College Dublin. She is the author of Women's Voices in Digital Media (2022, University of Texas Press) and Engaging Dialogue (2018, EUP).

Table of Contents

Acknowledgements

Table of contents

Introduction

1. Measuring Engaging Dialogue
2. Verbal—Visual Style and Words Visualised
3. The Integrated Soundtrack and Lyrical Speech
4. Dialogue and Character Construction
5. Embodying Dialogue: Rich Voices, Expressive Mouths and Gesticulation
6. Gendered Verbal Dynamics: Sensitive Men and Explicit Women
7. Adapting Dialogue and Authorial Double Voicing
Conclusion: Verbal Extremes and Excess

Bibliography

Filmography

What People are Saying About This

'What a delight to see the study of filmic dialogue pushed forward by O'Meara! Incorporating the latest research and clear analysis, her engaging insights are applicable to a wider field than the six writer-directors she foregrounds.'

Professor Sarah Kozloff

'What a delight to see the study of filmic dialogue pushed forward by O'Meara! Incorporating the latest research and clear analysis, her engaging insights are applicable to a wider field than the six writer-directors she foregrounds.'

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