For my new sound-script of the opening voice-over scene of American Beauty, I plan to change the protagonist’s commentary to narration. The protagonist can be considered a commentator because he adds bits of analysis and reflection to the events depicted. He does not fully explain what the audience does not understand, as a narrator might. The narrator in my new sound-script will view the events from a different point in time. Instead of reflecting on the events of the scene from the afterlife, the protagonist will narrate from a position before the resolution of the film. One could argue that this change will simply tell and make the protagonist’s narration useless. His narration is in fact pivotal to the dissonance between ideal and material within the movie. Narration, as opposed to commentary, will place the audience directly into the tension of the events instead of placing the audience in the removed position of the afterlife which the protagonist speaks from. My proposed sound-script should alter and enhance the conflict between the layers of the soundtrack and visuals, because the protagonist’s commentary develops many of these points of dissonance to a limited extent. Also, changing the protagonist’s commentary to narration should engage my research question: How do layers of dissonance between the protagonist’s commentary, music, other sounds, and visuals develop the tension between the ideal and material in the clip from Sam Mendes’ American Beauty. This question is relevant because any piece of literature or film will have dissonance or harmony between societal ideals and the reality prevented in the work. The modes of production that the author uses to make these social statements might say something about the purpose, background, or assumptions of the author.

I am going to try to tie in Kozloff’s piece about criticisms of voice-over narration. Perhaps I could use a quote about “telling” through narration while addressing a counterargument.

My whole claim and sound-script idea seem to weak to me. That’s not really a question. Maybe, how could I make the claim and sound-script stronger?

It is hard for me to point out what is unclear or what does not add up. For me, the text was a little overwhelming. I was curious about how Alcoff defines “priviliged” and “oppressed,” since most people (I am speaking for others) are both. Alcoff addresses this in her footnotes, though. I found one statement that seems to be an oversimplification:

“For example, in many situations when a woman speaks the presumption is against her; when a man speaks he is usually taken seriously (unless his speech patterns mark him as socially inferior by dominant standards).”

I guess Alcoff’s context and “location” matters here. I do not, consciously at least, think less of something a woman says. Maybe the fact that I do not think I am prejudiced towards women makes more vulnerable to accidentally being sexist. Wimmin…

I do not know what “post-structuralist” means, but I am sure Wikipedia can fix that.

Alcoff discusses how the social position of the speaker and the person being spoken too change the meaning of what is said, and can reflect social hierarchies. The definition of “service” as sexual intercourse suggest a dominant role of the person doing the “service.” Depending on who is saying the word, and to whom, the suggested social relationship could change. Alcoff’s points also raise questions regarding Illich’s speech “To Hell with Good Intentions.” For one, is Illich speaking for the underprivileged of Mexico? And if so, is he justified?

While learning at the Boys and Girl’s Club, I need to make sure that I do not speak for the children I am working with unless I need to. Also, I need to make sure that if I do speak for any of the children, I am not reinforcing class or societal hierarchies. By criticizing my words with my social location in mind, I might possibly prevent unjustifiably speaking for others.

“Actually, they frequently wind up alleviating the damage done by money and weapons, or ’seducing’ the ‘underdeveloped’ to the benefits of the world of affluence and achievement.”

The damage which volunteers do willy-nilly is too high a price for the belated insight that they shouldn’t have volunteered in the first place…I am here to suggest that you voluntarily renounce excercising the power which being an American gives you.”

Ivan Illich

This quote suggests that American’s feel they have a debt to underdeveloped countries. As Americans, why might we feel we have a debt to poorer countries and people? How can a “do-gooder” take into account the context of the situation they volunteering within, learn the repercussions of this, and inform future volunteers?

Illich’s speech showed us a perspective of service which we do not normally think about or hear. The questions he raises could help us ensure that our service at the Boys and Girls Club is productive. Another question we could ask is, “Is it necessary to alleviate the damage done?” Also, is it possible to help in one area and do damage in the other? If so, how do we reach a compromise?

“A group like this could not have developed unless a mood in the United States has supported it – the belief that any true American must share God’s blessing with his poorer fellow men.”

from “To Hell With Good Intentions” by Ivan Illich

This quote is from the second page of Illich’s speech to the CIASP. He is laying the foundation for his argument that the CIASP, “salesmen for the middle-class “American Way of Life,” should stop operating in Mexico. Illich’s words suggests that American’s feel they have a debt to poorer people which they must pay off (or service).

voice – formal, educated sounding, man’s voice

informative, no value judgements, giving a voice to people who are film but not commenting positively or negatively on the situation

present tense

first scene with homeless people talking: “John Smith has lived hear for half of his forty year life. The subway is the closest thing he has ever had to a home. Over the last two decades, John has made friendships and created bonds with the other residents of the subway. John now comments on his experience with the police.”

The narration is meant to serve the homeless people living in the subway. The audience is people who have more money and are not homeless.

Sound Clip 1

The sound clip is movie trailer for The Shining. The narration and characters’ voices give a sense or possibly a synopsis of the movie.

Keynote sound- fast, upbeat music

Soundmarks- typewriter

Signals- narrator

Secondary signals- characters’ voices

TRANSITION:

symbols crash

music with slower tempo, more emotional rhythm and feeling – The affective quality changes to a more serious tone.

symbols crash again

END:

keynote – fast, upbeat music – “Salsburry Hill” by Simon and Garfunkel

signals- narrator, characters’ voices

Sound Clip 2

keynote: creepy bee buzzing sound

signal- repetitive high pitched sound

The sound clip has an unsettling affect.