Voice-off is a component of sound that is essential in the development of the plot in Fritz Lang’s M. The ultimate reason the murderer is discovered is due to a voice-off scene. “The Voice in Cinema,” by Mary Anne Doane dedicates a whole section to the significance of voice-off and how it is used often to represent the relationship between space and physical bodies by expanding the action past the frame of reference. For example, Doane states that “The traditional use of voice-off constitutes a denial of the frame as a limit and an affirmation of the unity and homogeneity of the depicted space” (Doane 37-38.) M displays this through the killer being discovered by a blind beggar because of the killer’s whistling that occurs off screen. It is emphasized that the killer does not need to be seen in order to get caught, he just needs to be heard, hence why a blind man can catch him. The catching of the criminal adds a whole new dimension to storytelling as ...
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...und, “In the Hall of the Mountain King,” organically with the image of the murderer.
M, directed by Fritz Lang, is a 1930’s sound film that pioneered sound in the film industry through elements such as voice-off and the relationship between image and sound. This film allowed for a whole new generation of filmmakers to add a new dimension to their films through the use of sound. Mary Anne Doane’s piece, “The Voice in Cinema,” ties into the elements of sound presentably, as it adds perspective on the unity of image and sound. Doane also provides insight into how voice- off is significant in film. Both of these concepts are characterized through different concepts such as the “denial of the frame as a limit” (Doane 37) and sound bridges. All of the elements of sound used in this film are still being used in modern film, which displays M’s ability to last through time.
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