Audio-Vision: Sound on Screen

Reviews / Votes

An original and useful model for the audiovisual analysis of film. * Production Expert * Updated and expanded, with additional material from recent film production, the 2019 edition of Audio-Vision will soon take its place as a valuable textbook for those interested in literary research and practice of cinematic soundtrack. -- Dr. Nick Poulakis * CINEJ Cinema Journal * Without a shadow of a doubt one of the best books I have ever read, Audio-Vision's reprinting is a cause for great celebration. After a quarter of a century, it remains the first port of call for scholars and students of audiovisual culture, offering a cornucopia of theories that conceptualize sound's relationship with the moving image. Never less than enthralling, its acuity has not been dulled by more recent theory and scholarship. -- K. J. Donnelly, author of <i>Occult Aesthetics: Synchronization in Sound Film</i> When Audio-Vision first appeared in 1994, it became a lifeline for the burgeoning field of sound/media studies, providing a veritable roadmap to a discourse just beginning to crystallize. The second edition is no less momentous; Chion seamlessly brings current cinematic offerings into his theoretical purview, showing that his understanding of the filmic soundspace is as insightful to historians, theorists, and students as ever. A fundamental text for soundtrack studies. -- Daniel Goldmark, author of <i>Tunes for 'Toons: Music and the Hollywood Cartoon</i> Michel Chion's work is a thrilling exploration of film sound in all its forms: real and symbolic, technical and conceptual, dimensional and suggestive. He gives us all the tools we need for describing what films allow us to hear. Chion's many neologisms are like notes that can reverberate infinitely for every filmgoer, and through innumerable films. This revised edition of Audio-Vision is a new benchmark for any film scholar. -- Elsie Walker, author of <i>Understanding Sound Tracks Through Film Theory</i>