Audio Vision Sound On Screen

Deals with issue of sound in audio-visual images

Deals with issue of sound in audio-visual images

Chion analyzes imaginative uses of the human voice by directors like Lang, Hitchcock, Ophuls, Duras, and de Palma.

Michel Chion is well known in contemporary film studies for his innovative investigations into aspects of cinema that scholars have traditionally overlooked. Following his work on sound in film in Audio-Vision and Film, a Sound Art, Words on Screen is Chion's survey of everything the seventh art gives us to read on screen. He analyzes titles, credits, and intertitles, but also less obvious forms of writing that appear on screen, from the tear-stained letter in a character's hand to reversed writing seen in mirrors. Through this examination, Chion delves into the multitude of roles that words on screen play: how they can generate narrative, be torn up or consumed but still remain in the viewer's consciousness, take on symbolic dimensions, and bear every possible relation to cinematic space. With his characteristic originality, Chion performs a poetic inventory of the possibilities of written text in the film image. Taking examples from hundreds of films spanning years and genres, from the silents to the present, he probes the ways that words on screen are used and their implications for film analysis and theory. In the process, he opens up and unearths the specific poetry of visual text in film. Exhaustively researched and illustrated with hundreds of examples, Words on Screen is a stunning demonstration of a creative scholar's ability to achieve a radically new understanding of cinema.

Michel Chion’s landmark Audio-Vision has exerted significant influence on our understanding of sound-image relations since its original publication in 1994. Chion argues that sound film qualitatively produces a new form of perception. Sound in audiovisual media does not merely complement images. Instead, the two channels together engage audio-vision, a special mode of perception that transforms both seeing and hearing. We don’t see images and hear sounds separately—we audio-view a trans-sensory whole. In this updated and expanded edition, Chion considers many additional examples from recent world cinema and formulates new questions for the contemporary media environment. He takes into account the evolving role of audio-vision in different theatrical environments, considering its significance for music videos, video art, commercial television, and the internet, as well as conventional cinema. Chion explores how multitrack digital sound enables astonishing detail, extending the space of the action and changing practices of scene construction. He demonstrates that speech is central to film and television and shows why “audio-logo-visual” is a more accurate term than “audiovisual.” Audio-Vision shows us that sound is driving the creation of a sensory cinema. This edition includes a glossary of terms, a chronology of several hundred significant films, and the original foreword by sound designer, editor, and Oscar honoree Walter Murch.

Michel Chion is renowned for his explorations of the significance of frequently overlooked elements of cinema, particularly the role of sound. In this inventive and inviting book, Chion considers how cinema has deployed music. He shows how music and film not only complement but also transform each other. The first section of the book examines film music in historical perspective, and the second section addresses the theoretical implications of the crossover between art forms. Chion discusses a vast variety of films across eras, genres, and continents, embracing all the different genres of music that filmmakers have used to tell their stories. Beginning with live accompaniment of silent films in early movie houses, the book analyzes Al Jolson’s performance in The Jazz Singer, the zither in The Third Man, Godard’s patchwork sound editing, the synthesizer welcoming the flying saucer in Close Encounters of the Third Kind, and the Kinshasa orchestra in Felicité, among many more. Chion considers both original scores and incorporation of preexisting works, including the use and reuse of particular composers across cinematic traditions, the introduction of popular music such as jazz and rock, and directors’ attraction to atonal and dissonant music as well as musique concrète, of which he is a composer. Wide-ranging and original, Music in Cinema offers a welcoming overview for students and general readers as well as refreshingly new and valuable perspectives for film scholars.

First published in French in 1998, revised in 2010, and appearing here in English for the first time, Michel Chion's Sound addresses the philosophical, interpretive, and practical questions that inform our encounters with sound. Chion considers how cultural institutions privilege some sounds above others and how spurious distinctions between noise and sound guide the ways we hear and value certain sounds. He critiques the tenacious tendency to understand sounds in relation to their sources and advocates "acousmatic" listening—listening without visual access to a sound’s cause—to disentangle ourselves from auditory habits and prejudices. Yet sound can no more be reduced to mere perceptual phenomena than encapsulated in the sciences of acoustics and physiology. As Chion reminds us and explores in depth, a wide range of linguistic, sensory, cultural, institutional, and media- and technologically-specific factors interact with and shape sonic experiences. Interrogating these interactions, Chion stimulates us to think about how we might open our ears to new sounds, become more nuanced and informed listeners, and more fully understand the links between how we hear and what we do.

The author argues that watching movies is more than just a visual exercise--it enacts a process of audio-viewing. The audiovisual makes use of tropes, devices, techniques, and effects that convert multiple sensations into image and sound, therefore rendering, instead of reproducing, the world through cinema. This book considers developments in technology, aesthetic trends, and individual artistic style that recast the history of film as the evolution of a truly audiovisual language. It also explores the intersection of auditory and visual realms. The author describes the effects of audio-visual combinations claiming, for example, that the silent era (which he terms "deaf cinema") did not end with the advent of sound technology but continues to function underneath and within later films. He also discusses cinematic experiences ranging from Dolby multitrack in action films and the eerie tricycle of Stanley Kubrick's The Shining to the way actors from different nations use their voices and words.