What sound does exoticism make in movies? How do you dub an accent or translate a linguistic and cultural specificity? How does cinema recycle and imagine "sound clichés" of exoticism, in its noises, tones and rhythms? Exoticism is not only a spectacle for the eyes, it is also a spectacle for the ears. But are we really listening? What exactly do we hear, if not perhaps what we want to hear from the other, or what we think is "the noise of the other"?
This conference will focus on every geographical area concerned with production, reception and circulation of films: China, Japan and India for example, when they are watched, represented, listened to and broadcasted outside the territory (but why not also within the country itself, in an exotic interior) and also when they use Western music (for example jazz, associated with urbanity). It will cover the entire history of cinema.
It will also be an opportunity to study specific cases of sound, musical, verbal and rhythmic forms specific to cinema producing or receiving exoticism: sound inserts, musical accompaniment, film music composition or recycling and "potpourri", adaptation of melodies and tunes, sound effects and sound designing, animal cries, voice dubbing or dialogue subtitling, translation of titles, etc.
This symposium will be held (in French and English) in Paris at Ecole des Hautes Etudes en Sciences Sociales and Université Paris 3-Sorbonne Nouvelle.
It is organized by Amandine D'Azevedo (université Sorbonne Nouvelle), Térésa Faucon (université Sorbonne Nouvelle), Anne Kerlan (CNRS) and Marion Polirsztok (université de Rennes)
To see the program and listen at the SOUNDING TEASER go to https://exotismes.hypotheses.org/