The Audiovisual Chord: Embodied Listening in Film

by Martine Huvenne

Overview

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.

Product Details

ISBN-13:	9789811948060
Publisher:	Springer Nature Singapore
Publication date:	12/13/2022
Series:	Palgrave Studies in Sound
Edition description:	1st ed. 2022
Pages:	317
Product dimensions:	5.83(w) x 8.27(h) x (d)

About the Author

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.

Table of Contents

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.

What People are Saying About This

From the Publisher

“For too long we have thought of sounds and images as separate elements to be joined together to make a film. We’ve got things back to front. Martine Huvenne wants us to turn things the right way round again, by reinstating looking and listening as inseparably entwined movements of the sensing body. This is a book that will literally strike a chord, not just with students of film, but with every scholar interested in the world of sensory experience.” (Tim Ingold, Emeritus Professor, University of Aberdeen, UK)

“Only a few books have made me rethink my understanding of sound design, and this is one. Huvenne uses notions of music, dance and film, practice and philosophy, to create a new analysis of how film sound operates. She focuses on the way the audience perceives – feels – the complex movement between image and sound. With references ranging from Merleau-Ponty to Murch, this is a new attitude towards film sound for filmmakers and theorists alike.” (Larry Sider, The School of Sound, UK)

“I recommend vividly the lecture of this book to everybody who is interested in sound. Martine Huvenne opened my mind and ears to the central importance of the physicality of sonorous experience through the gesture, the gesture of the foley artist, of the musician, of the field recordist, of the mixer etc. Her writings have had a positive impact on my work as a sound practitioner.” (Nicolas Becker, sound designer)