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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 "e;audio-logo-visual"e; is a more accurate term than "e;audiovisual."e; 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.

Sound motion pictures. --- Motion pictures --- Aesthetics --- Sound effects (Motion pictures) --- Moving-pictures, Talking --- Talkies --- Talking motion pictures --- Sound effects. --- Aesthetics. --- EDUCATION --- ART --- Higher. --- Film & Video. --- Sound motion pictures --- 791.43.049 --- Film ; theorie ; geluid ; klank --- Film ; geluidseffecten --- Sound effects --- Filmkunst ; verschillende onderwerpen

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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.

Motion picture music --- Motion pictures and music. --- History and criticism.