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The Spatial Politics of the Voice in Patrick Keiller's Robinson in Ruins (2010)

The Spatial Politics of the Voice in Patrick Keiller's Robinson in Ruins (2010) This article engages with the ways in which Vanessa Redgrave's voice-over operates in spatial terms in Patrick Keiller's film Robinson in Ruins. It argues that through a combination of omniscient authority, self-reflexive irony and the mannered vocal performance of the role of a fictional character, Redgrave's voice-over ultimately evokes an uncontainable presence. Writers such as Michel Chion and Mary Ann Doane have considered film voice-overs as `disembodied' phenomena, but this article demonstrates that the fluid play of presence and absence in Redgrave's disembodied voice-over in Robinson in Ruins ­ and also the grain of this voice, its performative qualities and its evident display of traces of an enduring star persona ­ informs, in very complex ways, the free and open concept of place and spatiality that the film explores and articulates. Through its recounting of Robinson's story, its setting out of innumerable historical facts and its focus on off-screen as well as on-screen images, Redgrave's fluid voice-over constructs a complex, highly politicised sound territory ­ a shifting sonic space referred to below as a phonotope. By exploring this example in detail one can show how we might benefit from paying attention to the spatial properties of voices on http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

The Spatial Politics of the Voice in Patrick Keiller's Robinson in Ruins (2010)

Newland, Paul
The New Soundtrack , Volume 6 (2): 129 – Sep 1, 2016
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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press and the Contributors
Subject
Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2016.0087
Publisher site
See Article on Publisher Site

Abstract

This article engages with the ways in which Vanessa Redgrave's voice-over operates in spatial terms in Patrick Keiller's film Robinson in Ruins. It argues that through a combination of omniscient authority, self-reflexive irony and the mannered vocal performance of the role of a fictional character, Redgrave's voice-over ultimately evokes an uncontainable presence. Writers such as Michel Chion and Mary Ann Doane have considered film voice-overs as `disembodied' phenomena, but this article demonstrates that the fluid play of presence and absence in Redgrave's disembodied voice-over in Robinson in Ruins ­ and also the grain of this voice, its performative qualities and its evident display of traces of an enduring star persona ­ informs, in very complex ways, the free and open concept of place and spatiality that the film explores and articulates. Through its recounting of Robinson's story, its setting out of innumerable historical facts and its focus on off-screen as well as on-screen images, Redgrave's fluid voice-over constructs a complex, highly politicised sound territory ­ a shifting sonic space referred to below as a phonotope. By exploring this example in detail one can show how we might benefit from paying attention to the spatial properties of voices on

Journal

The New Soundtrack – Edinburgh University Press

Published: Sep 1, 2016

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