Voice-over (also known as off-camera or off-stage commentary) is a production technique where a voice that is not part of the narrative (non-diegetic) is used in a radio, television production, filmmaking, theatre, or other presentations. The voice-over may be spoken by someone who appears elsewhere in the production or by a specialist voice actor.
In Herman Melville's Moby-Dick (1956), Ishmael (Richard Basehart) narrates the story and sometimes comments on the action in voice-over, as does Joe Gillis (William Holden) in Sunset Boulevard (1950) and Eric Erickson (William Holden) in The Counterfeit Traitor (1962); adult Pip (John Mills) in Great Expectations (1946) and Michael York in a television remake (1974).
Voice-over technique is likewise used to give voices and personalities to animated characters. Among the most noteworthy and versatile voice actors include Mel Blanc, Daws Butler, Don Messick, Paul Frees, and June Foray.
In film, the film-maker places the sound of a human voice (or voices) over images shown on the screen that may or may not be related to the images being shown. Consequently, voice-overs are sometimes used to create ironic counterpoint. Also, sometimes they can be random voices not directly connected to the people seen on the screen. In works of fiction, the voice-over is often by a character reflecting back on his or her past, or by a person external to the story who usually has a more complete knowledge of the events in the film than the other characters.
Plot
Deadpoint is based on a true story about a young Iraqi soldier of thousands Iraqi men that is forced to join the army. It creates a torn between his country and his family. There's not time for regrets and he decides to take a lifetime act.
Plot
The film follows the story of a dog witnessing an important crime while sat in the back of a car. The next morning the radio asks in a news report if any one has seen a murder the night before. Unfortunately for the dog he is unable to do anything.
Plot
Over time, the people residing on Swampland began to take on new forms, their modified DNA altering their physiology to better suit their new environment. Generations passed and their original forms were forgotten; these humans had evolved into a new race: the Frogmen.If history (and genetics for that matter) shows us anything, it is that there is always variety.The genetic "success" of the Frogmen was also mirrored by the "achievements" of another group of human descent: the Cockroaches, otherwise known as the T-zhu Alliance. The brutal T-Hy poured out into the galaxy seeking new territories, resources, and the data crystals left by the original human explorers. The T-Hy's material driven hunger broke the peaceful lives of the Frogmen forcing them to take up arms in order to stop the T-Hy's insatiable ambitions. So began the MALO war.
Plot
A young Asian-American actress auditions for the role of Anna May Wong (the first Asian-American actress to gain success in Hollywood in the 1930s) for an upcoming biopic; only to discover the hardship she faces mirror that of the actress she wants to portray.
Keywords: actress, asian-american, audition, hollywood, may
Plot
"The Five Obstructions", a 100 min. theatre documentary directed by Lars von Trier and Jørgen Leth. An investigative journey into the phenomenon of "documentary", based on manifestos written by each director. About a filmmaker not only revisiting, but also recreating (not in a conventional sense) one of his first films, The Perfect Human / Det perfekte menneske (1967), a document on life in Denmark, containing the familiar Leth idiosyncrasies
Keywords: director, experimental-film, filmmaking, india, part-animation, reenactment, remake, third-world
Tony Manetti: He only stole things that began with the letter A; like A car or A Bus.
Plot
Shire is the subject of a perverse obsession by a Lesbian neighbor, Andrea, who not only is in lust with her but hires a rapist in order to get audio tapes of her moaning. Ashley turns pepping tom and watches Shire with a telescope as she begins an affair with Det. Cortese.
Keywords: new-york-city
Somebody loves Emily... too much
It does no good to lock the doors.
They don't even have to kick down our doors We let them in with a smile and a thank you Media ingrained police state Our fears create the cycle of reliance And if you think for one fucking second That they're not bleeding you for all their worth Dig your grave now and save them the trouble Tie yourself down to the fairy tales The Holocaust will not be televised That is unless it becomes marketable In the market of fear In the market of flesh and blood Sold to you by the new improved Jack booted thugs We've lost direction Senses rot away Kneel and beg for safety Just forget the whip marks on your back.
They don't even have to kick down our doors
We let them in with a smile and a thank you
Media ingrained police state
Our fears create the cycle of reliance
And if you think for one fucking second
That they're not bleeding you for all you're worth
Dig your grave and save them the trouble
Tie yourself down to their fairy tales
The holocaust will not be televised
That is unless it becomes marketable
In the market of fear
In the market of flesh and blood
Sold to you by the new
and improved Jack-booted thugs
We've lost direction, senses rot away
Kneel and beg for safety
Just forget the whip marks on your back