This book is a phenomenological approach to film sound and film as a whole, bringing all sensory impressions together within the body as a sense of movement. This includes embodied listening, felt sound and the audiovisual chord as a dynamic knot of visual and auditory movements. From this perspective, auditory spaces in film can be used as a pivot between an inner and an external world.

Proposes a new approach that is based on embodied listening Uniquely contrasts the experience of listeners with the intentions of designers Includes original interviews with film sound practitioners

Autorentext
Dr. Martine Huvenne retired after a career teaching and researching in the audio-visual field. She was a senior lecturer in Sound and Music for Film at the Kask & Conservatorium (Hogent-Howest), Belgium, where she developed a phenomenological approach to music and listening.

Inhalt
Introduction.- Part I.- The wind blows wherever it pleases. You hear its sound, but you cannot tell where it comes from or where it is going..- Audiovisual perception: the audiovisual contract, heautonomy of sound and image and filmic listening.- Phenomenology, an introductionv.- Part II.- A phenomenological approach to audiovisual experience in practice.- Thinking in movement, and different ways to create space in film sound.- The audiovisual chord, an invitation to the audience to interact.- Part III.- Embodied listening, felt sound and the audiovisual chord in film history.- The audiovisual chord in relation to film as an audiovisual composition.- The importance of embodied (panic) listening in film as an audiovisual composition.- A phenomenological approach to film sound and film at the basis of film-making.- Conclusion.