Audio-Vision: Sound on Screen by Michel Chion

By Michel Chion

In Audio-Vision, the French composer-filmmaker-critic Michel Chion provides a reassessment of the audiovisual media considering the fact that sound's innovative debut in 1927 and sheds mild at the mutual affects of sound and snapshot in audiovisual belief.
Chion expands at the arguments from his influential trilogy on sound in cinema--Las Voix au cinema, Le Son au cinema, and --while offering an summary of the services and aesthetics of sound in movie and tv. He considers the consequences of evolving audiovisual applied sciences equivalent to widescreen, multi-track sound, and Dolby stereo on audio-vision, impacts of sound at the notion of area and time, and modern different types of audio-vision embodied in track movies, video artwork, and advertisement tv. His ultimate bankruptcy offers a version for audiovisual research of film.

Walter Murch, who contributes the foreward, has been commemorated by means of either the British and American movie Academies for his sound layout and imagine modifying. His is mainly recognized for his paintings on </I>The Godfather, The Conversation, and Apocalypse Now<I>.

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THREE L I N E S A N D P O I N T S : H O R I Z O N T A L A N D V E R T I C A L P E R S P E C T I V E S O N A U D I O V I S U A L R E LAT I O N S Harmony or Counterpoint? The arrival of sound in the late twenties coincided with an extraordinary surge of aestheticism in silent film, and people took passionate interest in comparing cinema with music. This is why they came up with the term counterpoint to designate their notion of the sound film's ideal state as a cinema free of 36 • • • The A u d i o v i s u a l Contract redundancy where sound and image would constitute two parallel and loosely connected tracks, neither dependent on the other.

So synchronous sound brought to the cinema not the principle of punctuation but increasingly subtle means of punctuating scenes without putting a strain on the acting or the editing. The barking of a dog offscreen, a grandfather clock ringing on the set, or a nearby piano are unobtrusive ways to emphasize a word, scan a dialogue, close a scene. Punctuative use of sound depends on the initiative of the editor or the sound editor. They make decisions on the placement of sound punctuation based on the shot's rhythm, the acting, and the general feel of the scene, working with the sounds imposed on them or chosen by them.

The spectator would have the impression of a technical break (which of course Godard used to full effect, notably in Band of Outsiders). Every place has its own unique silence, and it is for this reason that for sound recording on exterior locations, in a studio, or in an auditorium, care is taken to record several seconds of the "silence" specific to that place. This ambient silence can be used later if needed behind dialogue, and will create the desired feeling that the space of the action is temporarily silent.

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