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The audiovisual chord = embodied lis...

Huvenne, Martine Simone Alberta Maria.

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The audiovisual chord = embodied listening in film /

Record Type:	Electronic resources : Monograph/item
Title/Author:	The audiovisual chord/ by Martine Huvenne.
Reminder of title:	embodied listening in film /
Author:	Huvenne, Martine Simone Alberta Maria.
Published:	Singapore :Springer Nature Singapore : : 2022.,
Description:	xv, 317 p. :ill., digital ;24 cm.
[NT 15003449]:	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.
Contained By:	Springer Nature eBook
Subject:	Sound in motion pictures. -
Online resource:	https://doi.org/10.1007/978-981-19-4807-7
ISBN:	9789811948077

The audiovisual chord = embodied listening in film /
Huvenne, Martine Simone Alberta Maria.

The audiovisual chordembodied listening in film /[electronic resource] :by Martine Huvenne. - Singapore :Springer Nature Singapore :2022. - xv, 317 p. :ill., digital ;24 cm. - Palgrave studies in sound,2633-5883. - Palgrave studies in sound..

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.

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.

ISBN: 9789811948077

Standard No.: 10.1007/978-981-19-4807-7doiSubjects--Topical Terms:

3311338
Sound in motion pictures.

LC Class. No.: PN1995.7

Dewey Class. No.: 791.436578

The audiovisual chord = embodied listening in film /
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505 0 $a 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.
520 $a 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.
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