The Audiovisual Chord Embodied Listening in Film /
| Tác giả chính: | |
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| Tác giả của công ty: | |
| Tóm tắt: | XV, 317 p. 9 illus. text |
| Ngôn ngữ: | Tiếng Anh |
| Được phát hành: |
Singapore :
Springer Nature Singapore : Imprint: Palgrave Macmillan,
2022.
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| Phiên bản: | 1st ed. 2022. |
| Loạt: | Palgrave Studies in Sound,
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| Những chủ đề: | |
| Truy cập trực tuyến: | https://doi.org/10.1007/978-981-19-4807-7 |
| Định dạng: | Điện tử Sách |
Mục lục:
- 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.