Neoliberal Logics of Voice: Playback Singing and Public Femaleness in South India

This article explores the impact of neoliberal logics of voice on the music - making and performance practices of female playback singers in the South Indian Tamil film industry. As singers whose voices are first recorded in the studio and then “played back” on the set to be lip-synched by actors, playback singers have been professional musicians and public celebrities since the 1950s. Their careers are governed by practices of voice cultivation and by modes of performance and public self-presentation, in the studio, on stage, and increasingly in mediatized contexts. Since the 1990s, neoliberal logics of flexibility, entrepreneurship and self-marketing have redefined the role of the playback singer and the way singers conceive of their work in both social and aesthetic terms. These changes have occurred within a broader context in which anxieties about globalization and expanding commodity culture are reflected in debates about the place of women in public

Neoliberal Logics of Voice: Playback Singing and Public Femaleness in South India

This article explores the impact of neoliberal logics of voice on the music - making and performance practices of female playback singers in the South Indian Tamil film industry. As singers whose voices are first recorded in the studio and then “played back” on the set to be lip-synched by actors, playback singers have been professional musicians and public celebrities since the 1950s. Their careers are governed by practices of voice cultivation and by modes of performance and public self-presentation, in the studio, on stage, and increasingly in mediatized contexts. Since the 1990s, neoliberal logics of flexibility, entrepreneurship and self-marketing have redefined the role of the playback singer and the way singers conceive of their work in both social and aesthetic terms. These changes have occurred within a broader context in which anxieties about globalization and expanding commodity culture are reflected in debates about the place of women in public

Vision, Voice, and Cinematic Presence

Anxieties around the appearance and audition of the female body and voice in Tamil cinema reveal a semiotic ideology of the image that does not fit neatly within the idea of cinema as representation. Instead, this ideology takes filmic images to be acts that performatively presence the actresses and singers who animate them, in other words morally charged acts for which such animators are held accountable. Drawing on linguistic anthropology and film theory, this article explores vision-image and sound-image as distinct modes of performative presence, noting the division of semiotic labor between them as well as their interaction and interdependence. The theoretical project, relevant to cinema and related media more generally, argues for the need to attend to those processes and factors that enable the performativity of images to be either elaborated and institutionalized or played down and attacked in any particular historical, cultural, or political context

Incident Sexually Transmitted Infection as a Biomarker for High-Risk Sexual Behavior After Diagnosis of Acute HIV

Sexually transmitted infection (STI) diagnosis following diagnosis of acute HIV infection (AHI) indicates ongoing high-risk sexual behavior and possible risk of HIV transmission. We assessed predictors of STI acquisition and the effect of time since care entry on STI incidence in AHI patients in care and receiving consistent risk-reduction messaging

Brought to Life by the Voice

To produce the song sequences that are central to Indian popular cinema, singers' voices are first recorded in the studio and then played back on the set to be lip-synced and danced to by actors and actresses as the visuals are filmed. Since the 1950s, playback singers have become revered celebrities in their own right. Brought to Life by the Voice explores the distinctive aesthetics and affective power generated by this division of labor between onscreen body and offscreen voice in South Indian Tamil cinema. In Amanda Weidman's historical and ethnographic account, playback is not just a cinematic technique, but a powerful and ubiquitous element of aural public culture that has shaped the complex dynamics of postcolonial gendered subjectivity, politicized ethnolinguistic identity, and neoliberal transformation in South India

Brought to Life by the Voice

To produce the song sequences that are central to Indian popular cinema, singers' voices are first recorded in the studio and then played back on the set to be lip-synced and danced to by actors and actresses as the visuals are filmed. Since the 1950s, playback singers have become revered celebrities in their own right. Brought to Life by the Voice explores the distinctive aesthetics and affective power generated by this division of labor between onscreen body and offscreen voice in South Indian Tamil cinema. In Amanda Weidman's historical and ethnographic account, playback is not just a cinematic technique, but a powerful and ubiquitous element of aural public culture that has shaped the complex dynamics of postcolonial gendered subjectivity, politicized ethnolinguistic identity, and neoliberal transformation in South India

Brought to Life by the Voice

To produce the song sequences that are central to Indian popular cinema, singers’ voices are first recorded in the studio and then played back on the set to be lip-synced and danced to by actors and actresses as the visuals are filmed. Since the 1950s, playback singers have become revered celebrities in their own right. Brought to Life by the Voice explores the distinctive aesthetics and affective power generated by this division of labor between onscreen body and offscreen voice in South Indian Tamil cinema. In Amanda Weidman’s historical and ethnographic account, playback is not just a cinematic technique, but a powerful and ubiquitous element of aural public culture that has shaped the complex dynamics of postcolonial gendered subjectivity, politicized ethnolinguistic identity, and neoliberal transformation in South India. “This book is a major contribution to South Asian Studies, sound and music studies, anthropology, and film and media studies, offering original research and new theoretical insights to each of these disciplines. There is no other scholarly work that approaches voice and technology in a way that is both as theoretically wide-ranging and as locally specific.” NEEPA MAJUMDAR, author of Wanted Cultured Ladies Only! Female Stardom and Cinema in India, 1930s–1950s “Brought to Life by the Voice provides a detailed and highly convincing exploration of the varying links between the singing voice and the body in the Tamil film industry since the mid-twentieth century. The historical and ethnographic analysis the book presents is meticulous and excellent.” PATRICK EISENLOHR, author of Sounding Islam: Voice, Media, and Sonic Atmospheres in an Indian Ocean Worl