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Sonic Vocality: a Theory on the Use of Voice in Character Portrayal

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Sonic Vocality: a Theory on the Use of Voice in Character Portrayal Georgia State University ScholarWorks @ Georgia State University Communication Dissertations Department of Communication 8-11-2015 Sonic Vocality: A Theory on the Use of Voice in Character Portrayal Cindy Milligan Follow this and additional works at: https://scholarworks.gsu.edu/communication_diss Recommended Citation Milligan, Cindy, "Sonic Vocality: A Theory on the Use of Voice in Character Portrayal." Dissertation, Georgia State University, 2015. https://scholarworks.gsu.edu/communication_diss/64 This Dissertation is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. SONIC VOCALITY: A THEORY ON THE USE OF VOICE IN CHARACTER PORTRAYAL by CINDY ANN MILLIGAN Under the Direction of Patricia G. Davis, PhD ABSTRACT The primary purpose of this study was to discover whether and how the voice alone can change audiences’ perception of character in films. It further sought to determine some of the specific changes in vocal performance that might construct that difference. Data were gathered from three focus groups that screened film clips between two and five minutes long. The clips were edited from five pairs of matched films—an original and its remake. Films were chosen to represent a variety of genres and release dates, and they included scenes where the dialogue was identical or similar. Although each focus group experienced the same set of edited film clips from the matched film pairs, one group experienced only the sound without any visuals, a second group watched only the visuals of the same clips without any sound, and a third group watched the clips as they were produced with sound and visuals. Participants completed a short questionnaire and engaged in a discussion regarding the characters in the films. Data were analyzed using grounded-theory. Analysis included sorting and coding data into categories by focus group, film, character, and scene. Units of analysis were terms or phrases about how focus- group participants perceived or understood a character and the vocal techniques they used to describe them. After the variables were identified, data across focus groups were checked for redundancy, seeking instances where characterizations were the same for the visual or both the visual and vocal techniques. Characteristics that presented in multiple groups were eliminated, leaving only characterizations attributed to voice. Seventy-two character traits emerged that participants saw as developed through the voice, with 11 vocal techniques used to create those characteristics. A vocal continuum was developed to show how the actors in the study were perceived to use those vocal techniques to construct certain character traits. These results have potential practical uses for actors, vocal performers, acting and vocal coaches, screenwriters, and others involved in filmmaking. INDEX WORDS: voice, character portrayal, film characters, actor’s vocal performance, vocal performance, voice and film, vocal techniques, vocal continuum, vocal traits, vocal characteristics SONIC VOCALITY: A THEORY ON THE USE OF VOICE IN CHARACTER PORTRAYAL by CINDY ANN MILLIGAN A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the College of Arts and Sciences Georgia State University 2015 Copyright by Cindy Ann Milligan 2015 SONIC VOCALITY: A THEORY ON THE USE OF VOICE IN CHARACTER PORTRAYAL by CINDY ANN MILLIGAN Committee Chair: Patricia Davis Committee: Ted Friedman David Cheshier Sonja Foss William Waters Electronic Version Approved: Office of Graduate Studies College of Arts and Sciences Georgia State University August 2015 iv DEDICATIONS This dissertation is dedicated to my parents, Manual and Betty Milligan, who taught me the value of education and loved me unconditionally. v ACKNOWLEDGMENTS I’d like to acknowledge those who helped me and encouraged me on this educational journey. To the teachers, instructors, and mentors who shared their time, knowledge and talent with me: Dr. Patricia Davis, Dr. David Cheshier, Dr. Ted Friedman, Dr. Sonja Foss, Dr. William Waters, Dr. Birgit Wassmuth, and Dr. Penny Joyner Waddell. To my family: especially my brother Earl Milligan, who encouraged me to never give up; Jordan Milligan, Evan Milligan, and Kathy Hutter, who understood my interest in voice from the beginning; and to the rest of my family and friends who cheered me on with every phone call and conversation. Thank you! vi TABLE OF CONTENTS ACKNOWLEDGMENTS ........................................................................................................... V LIST OF TABLES .................................................................................................................... XII 1 INTRODUCTION ................................................................................................................... 1 1.1 Background of the Problem ...................................................................................... 1 1.2 Research Question ...................................................................................................... 5 1.3 Significance of the Study ............................................................................................ 6 1.4 Terminology ................................................................................................................ 7 1.5 Outline of the Study ................................................................................................... 7 2 LITERATURE REVIEW ...................................................................................................... 8 2.1 Why the Voice Is Important ...................................................................................... 8 2.1.1 Voice and Character .............................................................................................. 8 2.1.2 Voice and Demographics ..................................................................................... 10 2.1.3 Voice and Emotion ............................................................................................... 11 2.1.4 Voice and Personality .......................................................................................... 14 2.1.5 Voice and Narrative ............................................................................................. 15 2.2 Voice as a Lens to Understand Character .............................................................. 17 2.3 Summary ................................................................................................................... 23 3 METHODS ............................................................................................................................ 26 3.1 Design ........................................................................................................................ 26 3.2 Data ............................................................................................................................ 27 3.2.1 The Thomas Crown Affair (1968) & (1999) ....................................................... 29 3.2.2 The Bishop’s Wife (1947) & The Preacher’s Wife (1996) ................................. 30 3.2.3 Sabrina (1954) & (1995) ...................................................................................... 31 3.2.4 A Raisin in the Sun (1961) & (2008) TV Movie ................................................. 33 vii 3.2.5 Willy Wonka and the Chocolate Factory (1971) & Charlie and the Chocolate Factory (2005) .................................................................................................................. 34 3.3 Focus Groups ............................................................................................................ 35 3.4 Data Collection ......................................................................................................... 37 3.4.1 Participant Selection and Demographics ............................................................ 37 3.4.2 Focus Group Process ........................................................................................... 39 3.4.3 Questionnaires ..................................................................................................... 39 3.4.4 Focus Group Discussions .................................................................................... 41 3.5 Summary of Data Gathered .................................................................................... 42 3.6 Data Analysis ............................................................................................................ 43 3.6.1 Grounded theory. ................................................................................................. 43 3.6.2 Steps in grounded theory. .................................................................................... 45 4 RESULTS: CONTEXT ........................................................................................................ 51 4.1 Introduction: Data Analysis .................................................................................... 51 4.2 The Thomas Crown Affair (1968) & (1999) ............................................................ 51 4.3 The Bishop’s Wife (1947) and The Preacher’s Wife (1996) ................................... 54 4.4 Sabrina (1954) and Sabrina (1995)
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