The voice labours constantly. It is particularly a worker when it is silent and on strike.

Against the background of Kerstin Honeit's artistic practice, this publication examines the (film) voice from the aspect of labour. It discusses vocal connections to structural exclusions, as well as resistant and emancipatory gestures: the voice as a worker. From different perspectives and working practices, it illuminates forms of (translational) labour that are applied to the disembodied voice of cinema and its mediated extensions. In doing so, the contributors devote themselves to the hidden processes of a ‘voice normalisation’ as it is practised in commercial film dubbing in a racialising or classist manner. Equally, this publication is interested in the queering potential that is inherent in the disembodied voice too. The production processes involved in creating coherences between bodies and voices are made visible here; as fluid and in relation to structures and politics, therefore condense ways of seeing and hearing into ambiguous, multiple resonances.

Via an augmented reality app, excerpts of Kerstin Honeit's video work become accessible on film.