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The voice in cinema is a phenomenon that is in many ways taken for granted. Since the advent of the talkies, the speaking voice synchronised to the human body on-screen is the ingrained process for narrative exposition and character development. However, this accepted synchronisation is one of sound cinema\u2019s fundamental illusions.\nThis major production for The Cinematologists features the analysis from leading film scholars and critics, each focusing on uses and interpretations of cinematic voice, using a plethora of filmic examples. Many aspects of the cinematic voice are explored including star voices, script and performance, sonic aesthetics of the voice, voice-overs, the singing voice, voices in animation, the disembodied voice, and politics of who has a voice and who listens. We draw upon many of the key thinkers on film sound including the seminal work of Michel Chion. Chion developed concepts like Audio-Vision, to explore how sound shapes how the screened image can be understood, and acousmetr\xe9, meaning the cinema\u2019s use of disembodied off-screen voice. Using these ideas he forwards the argument that sound is not a secondary addendum to image in the cinematic experience, but fundamentally structures how we see and understand film.\nUnlike our usual conversational format, this episode is an audio-essay; recorded interviews cut together with indicative clips in a sonic collage which is hopefully an immersive experience transversing the boundaries between creativity and criticism. We recommend that you listen to this episode on headphones to get the full effect. As always Dario and Neil discuss the themes of the podcast but also engage with the production and formal approach in the context of film podcasts more broadly.\nContributors to this episode are (in order of appearance are):\nDario Llinares - Website - Twitter\nClive Frayne (11:03-19:18)\xa0 - Website - Twitter\nNeil Fox - (19:56-29:30)\xa0Website - Twitter\nLaura Tunbridge - (32:08-37:08)\xa0Website - Twitter\nCatherine Wheatley - (41:46-47:33)\xa0Website - Twitter\nIan Garwood\xa0 (48:56-55:00) - Website - Twitter\nFarshid Kazemi (55:51-1:01:50) - Website\nJennifer O\u2019Meara - (1:06:14-1:14:24)\xa0Website - Twitter\nMark Kermode (1:15:40-1:23:22) - Website - Twitter\nWilliam Brown (1:23:56-1:36:14) - Website - Twitter\nMy profound thanks for their time, labour and critical insight which has made this episode possible.\nA full transcript of this episode is available at\xa0www.cinematologists.com\nFilm clips (in broadcast order)\nThe Jazz Singer (1927, Alan Crosland)\nBlackmail (1929, Alfred Hitchcock)\nDead of Night [The Ventriloquist\u2019s Dummy (1945, Alberto Cavalcanti)\nTo Have and Have Not (1944, Howard Hawks)\nThe Trial (1962, Orson Welles)\nDirty Harry (1972 Don Siegel)\n2001: A Space Odyssey (1968, Stanley Kubrick)\nIn the Heat of the Night (1967, Norman Jewison)\nInherent Vice (2014, Paul Thomas Anderson)\nDick Tracy (1990, Warren Beatty)\nThe Shawshank Redemption (1995, Frank Darabont)\nOnly Lovers Left Alive (2014, Jim Jarmusch)\nWhite Men Can\u2019t Jump (1992, Ron Shelton)\nDaughters of the Dust (1991, Julie Dash)\nF\xe9licit\xe9 (2017, Alain Gomis)\nMary Poppins (1964, Robert Stevenson)\nMagnolia (1999) Paul Thomas Anderson\nThe Wind Will Carry Us (1999, Abbas Kiarostami)\nAll the President\u2019s Men (Alan J. Pakula)\nHer (2014, Spike Jonze)\nToy Story (1995, John Lassiter)\nPuss in Boots [Antonio Banderas Voice Session]\nFrozen (2013, Jennifer Lee, Chris Buck)\nAnomalisa (2016, Charlie Kaufman, Duke Johnson)\nStar Wars (1977, George Lucas)\nThe Exorcist (1973, William Friedkin)\nThe Exorcist Original Voice Recordings\nThe Exorcist documentary\nMonty Python\u2019s Life of Brian (1979, Terry Jones)\nThe Dark Knight Rises (2012, Christopher Nolan)\nThe Great Dictator (1940, Charlie Chaplin)\nValkyrie (2008, Bryan Singer)\nThe Wizard of Oz (1939, Victor Flemming)\nSome Like it Hot (1959, Billy Wilder)\nReferences (in order of mention):\nAltman, Rick. 1980. Moving Lips: Cinema as Ventriloquism. Yale French Studies, 60 Cinema/Sound: pp. 67-