FILM SOUND II. Film Sound Theories. 1.Audio-Visual Analysis 2.Voice in Cinema 3.Feminist Film Theory 4.Film Music.

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FILM SOUND II. Film Sound Theories

1.Audio-Visual Analysis 2.Voice in Cinema 3.Feminist Film Theory 4.Film Music

He’s French (see 2 nd pic) Trained as a composer under Pierre Schaeffer and Pierre Henry Associate Professor at the University of Paris III: Sorbonne Nouvelle, where he is a theoretician and teacher of audio-visual relationships He wrote at least six books on film sound, as well as monographs on filmmakers including Stanley Kubrick, Jacques Tati and David Lynch, and on films including EYES WIDE SHUT and THE THIN RED LINE Michel Chion

This book is concerned with audio-visual relationships (he calls it a contract) which can alter/expand our perception In the book, Chion outlines a methodology for observing and analyzing these relationships (audio-visual analysis) Audio-Vision: Sound on Screen

It is a summary of ideas Chion developed in his three earlier books In the book, he writes predominantly about American and European feature- length narrative films in the book, but also touches on TV, video art, and music videos

Added Value Synchresis Vococentrism Verbocentrism Music: empathetic / anempathetic Spotting Temporalization Three Modes of Listening Chion’s Key Concepts:

Three modes of listening: casual / semantic / reduced “There is no soundtrack” (p. 39) What do you think he means by this? Sound units vs. sound events Functions of sound in film: 4 kinds Points of synchronization Sound in relation to screen: 6 kinds Music: pit vs. screen, active vs. passive Point of Audition // POV

Audio-visual analysis Masking Forced Marriage Format for audio-visual analysis: 1.Film title/credit 2.Shot breakdown 3.Locating the dominants 4.Locating points of synchronization 5.Analysis: narrative, comparison, etc. Chion’s Methodology: