VOICEOVER NARRATION

Discuss the use of voiceover narration in a screenplay called Jackie Brown (1997) by Quentin Tarantino

Discuss the use of voiceover narration in a screenplay called Jackie Brown (1997) by Quentin Tarantino

Voice over narration has been a prominent attempt in the area of movie making and yielding a more powerful impression on the minds of the viewers. With movies like Moby Dick (1956), Sunset Boulevard (1950), The Counterfeit Traitor (1962) and Great Expectations (1946), voiceover narration technique has been a popular tool to emphasize the magnitude of any scene, stressing upon the climax of the film (Steiff, 2005, pp. 26).

The voice is a much more complicated musical instrument than any man-made one and by it's nature resistant to scientific investigation. Many, perhaps most, aspects of its mechanical functioning are still only imperfectly understood, and almost any assertion by one authority is still liable to contradiction by another, especially if among authorities one includes not only scientific researchers but singers and singing teachers as well. The latter group, dedicated less to abstract understanding than to singing itself, draws at times on the conclusions of the former, but also frequently employs terminology and concepts of dubious scientific validity, held to be of value in achieving practical ends (Campbell, 2002, pp.70).

Difference of registral emphasis is one of the principal factors distinguishing types of singers. The coloratura soprano is characterized by very light registration, high tessitura, and agility. Most young tenors and sopranos use a predominantly light registration; this makes them, in standard terminology, lyric voices. Some remain in this category, but others adopt heavier registration and more powerful sound with age and experience. The dramatic soprano sings more powerfully and with heavier registration more of the time and throughout her range. Tenore robust is the tenor equivalent, Heldentenor that for Wagnerian singing. Basses and contraltos sing mainly in chest voice, the bass using falsetto only for comic effect (Singer, 2002, pp.385).

Because important components of the vocal mechanism are not subject to direct conscious control, training the voice and keeping it in good order cannot be a straightforward scientific undertaking and often depend on methods of an indirect, intuitive sort, utilizing psychological suggestion. Because the voice is usually seen as a highly integrated mechanism, singers and teachers often fix on one of its elements as the key to the whole, whose proper management will cause the rest to fall into place. For these reasons singing methods vary greatly, and the successful combination of singer and teacher is often difficult to achieve.



The voice is usually considered a kind of wind instrument (but even this has been strongly contested), its mechanism consisting of three main parts: air supply, vibrator, and resonator. Air is drawn into the lungs by the aspiratory muscles, of which the diaphragm is the chief, and expelled by the expiratory. At the top of the trachea (or windpipe) within the larynx (or voice box) is a set of muscles (popularly but misleadingly called the vocal cords; more accurately, vocal folds) ...