This chapter explores how sound works along with filmic image in Hardwicke's Twilight, Weitz's New Moon, and Slade's Eclipse to position the viewer in relation to Bella's perspective. It concerns the uses of voiceover as Bella's narration, an area illuminated by French film scholar Michel Chion's work on cinematic sound. Comparing the opening sequences of Twilight and New Moon provides an initial entry into understanding how subjective-internal voiceovers function differently in the films. An understanding of each film's plot-especially how plots build on each other-is necessary prior to a consideration of the cinematic uses of voiceover since that sound feature contributes to Bella's interiority, particularly her motivation for actions in addition to her emotional perspective. In order to discern the varying functions and implications of Bella's voiceover in the 'Twilight' films, a consideration of scholarship that specifically takes into account how sound operates with film grammar is necessary.
|Title of host publication||Genre, Reception, and Adaptation in the 'Twilight' Series|
|Number of pages||18|
|ISBN (Print)||9781409436614, 9781138271593|
|Publication status||Published - 28 Mar 2012|
|Name||Studies in Childhood, 1700 to the Present|
Hills, M. (2012). “Twilight” Fans Represented in Commercial Paratexts and Inter-Fandoms: Resisting and Repurposing Negative Fan Stereotypes. In A. Morey (Ed.), Genre, Reception, and Adaptation in the 'Twilight' Series (1st ed., pp. 113-130). (Studies in Childhood, 1700 to the Present). Routledge. https://doi.org/10.4324/9781315584331