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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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"My Mother Laughs is the final book written by the legendary and beloved Belgian artist and director Chantal Akerman (1950-2015) before her death. A moving and unforgettable memoir, the book delves deeply into one of the central themes and focuses of Akerman's often autobiographical films: her mother, who was the direct subject of her final film No Home Movie (2015). With a particular focus on the difficulties Akerman faced in conjunction with the end of her mother's life, the book combines a matter-of-fact writing style with family photographs and stills from her own films in order to better convey the totality of her experience. Akerman writes: 'With pride because I believed at last in my ability to say something that I'd had trouble saying. I told myself, I am strong for once, I speak. I speak the truth.'"--

French literature --- kunstenaarsgeschriften --- autobiografieën (genre) --- Akerman, Chantal --- Mothers and daughters --- Women motion picture producers and directors --- 798.53 --- film --- cinema --- regisseurs --- cineasten --- Filmregisseurs --- LGBTQ+ (lesbian, gay, bisexual, transgender, queer and others) --- queer --- Familie --- Moeders --- memoires --- feminisme --- 798.42 --- België --- Women moving-picture producers and directors --- Motion picture producers and directors --- Women in the motion picture industry --- Daughters and mothers --- Daughters --- Girls --- Mother and child --- film, cineasten --- film, geschiedenis der filmkunst, België --- Akerman, Chantal. --- Ackerman, Chantal --- Акерман, Шанталь --- Akerman, Shantalʹ

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This book argues that certain films have more to offer by way of conceptualising education than textual scholarship. Drawing on the work of the later Wittgenstein, it suggests that a shift in our philosophical focus from knowing to seeing can allow for ordinary educational phenomena (teachers, schools, children) to be appreciated anew. The book argues that cinema is the medium best placed to draw attention to this revaluation of the everyday, and particular films are presented as offering unique insights into the aesthetic nature of education as a concept. The book will be of primary interest to educators and educationalists alike, but its interdisciplinary nature should also appeal to those in the fields of film study, philosophy, and aesthetics.

Mass media and education. --- Education and mass media --- Education --- Education in motion pictures --- Mass media and education --- 37.01 --- 7.01 --- 791.43.049 --- Wittgenstein, Ludwig °1889-1951 (°Wenen, Oostenrijk) --- Cavell, Stanley --- Descartes, René --- The Apple --- At five in the Afternoon --- Au revoir les enfants --- Blackboards --- Captain Fantastic --- Cogito --- Dr No --- Cartesius --- Germany Year Zero --- Harry Potter and the Philosopher's Stone --- Makhmalbaf, Samira --- Kiarostami, Abbas --- Malle, Louis --- The Mirror --- Mr Deeds goes to Town --- Panahi, Jafar --- Mulvey, Laura --- Rancière, Jacques --- Vigo, Jean --- Motion pictures --- Onderwijs ; theoretische beschouwingen --- Kunst ; theorie, filosofie, esthetica --- Filmkunst ; verschillende onderwerpen --- Learning. --- Instruction. --- Art education. --- Communication. --- Learning & Instruction. --- Creativity and Arts Education. --- Media and Communication. --- Film and TV Production. --- Production and direction. --- Direction of motion pictures --- Film-making (Motion pictures) --- Filmmaking (Motion pictures) --- Motion picture direction --- Motion picture plays --- Motion picture production --- Movie-making --- Moviemaking --- Production of motion pictures --- Communication, Primitive --- Mass communication --- Sociology --- Art --- Art education --- Education, Art --- Art schools --- Learning process --- Comprehension --- Production and direction --- Direction --- Analysis, interpretation, appreciation