Claudia Gorbman addresses the integral role of the voice in Paul Thomas Anderson’s The Master (2012). This film offers a particularly apt occasion to consider a striking vocal performance at the height of Philip Seymour Hoffman’s career. For if Kozloff can talk about “the unique alchemy … of that actor,” and if Barthes writes about the thrill he derives from hearing the recorded voice of the French baritone Charles Panzera, one realizes that in a new age of film acting, at least with some actors like Hoffman, the essential, recognizable voice need no longer prevail. This essay is accompanied by video clips that demonstrate the results of the masterful role of the voice in The Master.
Gayatri Chakravorty Spivak’s preface to the film Concerning Violence (2013) is offered for the first time in print. Readers can also watch the trailer for the film, which is a tribute to and an illustration of Frantz Fanon’s The Wretched of the Earth Spivak states that she ends this preface as Fanon would end his writing: I end it in Fanon’s own way, turning around for our own use what a European philosopher wrote for the use of Europe over 200 years ago: turning Kant around for our purposes as he did Hegel: “anything which the people (i.e. the entire mass of subjects) cannot decide for themselves and their fellows cannot be decided for the people by the sovereign either.”