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Table of Contents
Intro
Foreword
Acknowledgements
Funding
Contents
1: Introduction
Part I: From Bresson Towards a Phenomenological Approach to Film and Film Sound: Phenomenology Delivers a Useful Theoretical Framework
2: "The wind blows wherever it pleases. You hear its sound, but you cannot tell where it comes from or where it is going."
A Man Escaped or The Wind Blows Wherever It Pleases
The Opening Scene of A Man Escaped
A Focus on the Audience's Experience
Bresson's Inner Style
The Use of Sound in A Man Escaped, in the Writings of Truffaut, Bordwell and Thompson, and Chion
François Truffaut: A Break with the Canon of Classical Cinema, Moving with Instead of Identifying with the Character
David Bordwell and Kristin Thompson: Sound Anticipates and Guides Our Expectations
Michel Chion: Topography of Sounds
Reading the Critics and Scholars, a Question Arises
Bresson as a Phenomenologist?
Le cinématographe as a Writing in Movement with Moving Images and Sounds
References
3: Audiovisual Perception: The Audiovisual Contract, Heautonomy of Sound and Image and Filmic Listening
Some Different Approaches to the Intertwining of Sound and Image
A Fragment of A Man Escaped as Starting Point
Different Perspectives from Which to Analyse Sound in Film
Michel Chion: Audio-Vision
Gilles Deleuze: The Heautonomous Sound
The Filmic Listening of Véronique Campan
References
4: Phenomenology, an Introduction
Phenomenology as Theoretical Framework for Film Sound?
Phenomenology
Edmund Husserl
Husserl's Static Phenomenology
How Does This Work for Sound?
Franz Brentano: Sound as a Mental Phenomenon
Husserl's Genetic Phenomenology
How We Can Relate Inner Time-Consciousness to Sound in Film and to Film as a Time-Object?
The Difference Between an Event and an Experience in Bresson's A Man Escaped
Perception of Another Body: Husserl's Concept of Paarung (Pairing or Coupling)
Maurice Merleau-Ponty
One's Body as a Being-in-the-World and a Being-Towards-the-World
The Body Schema as an Experience of the Body in the World and the Body as a Knot of Significations
A Pre-reflective Intentionality of the Body
Bodily Resonance and the Situatedness of the Body in Space
The Lived Space and Concrete and Abstract Movements Evoking Spaces
The World as the Primordial Unity of All Our Experiences, Revealed by Passive Synthesis
Bresson's Cinématographe and the Cinématographer as "Metteur en ordre"
References
Part II: A Phenomenological Approach to the Experience and Perception of Film Sound and Film Yields New Insights: Thinking in Movement, Auditory Spaces and the Audiovisual Chord
References
Foreword
Acknowledgements
Funding
Contents
1: Introduction
Part I: From Bresson Towards a Phenomenological Approach to Film and Film Sound: Phenomenology Delivers a Useful Theoretical Framework
2: "The wind blows wherever it pleases. You hear its sound, but you cannot tell where it comes from or where it is going."
A Man Escaped or The Wind Blows Wherever It Pleases
The Opening Scene of A Man Escaped
A Focus on the Audience's Experience
Bresson's Inner Style
The Use of Sound in A Man Escaped, in the Writings of Truffaut, Bordwell and Thompson, and Chion
François Truffaut: A Break with the Canon of Classical Cinema, Moving with Instead of Identifying with the Character
David Bordwell and Kristin Thompson: Sound Anticipates and Guides Our Expectations
Michel Chion: Topography of Sounds
Reading the Critics and Scholars, a Question Arises
Bresson as a Phenomenologist?
Le cinématographe as a Writing in Movement with Moving Images and Sounds
References
3: Audiovisual Perception: The Audiovisual Contract, Heautonomy of Sound and Image and Filmic Listening
Some Different Approaches to the Intertwining of Sound and Image
A Fragment of A Man Escaped as Starting Point
Different Perspectives from Which to Analyse Sound in Film
Michel Chion: Audio-Vision
Gilles Deleuze: The Heautonomous Sound
The Filmic Listening of Véronique Campan
References
4: Phenomenology, an Introduction
Phenomenology as Theoretical Framework for Film Sound?
Phenomenology
Edmund Husserl
Husserl's Static Phenomenology
How Does This Work for Sound?
Franz Brentano: Sound as a Mental Phenomenon
Husserl's Genetic Phenomenology
How We Can Relate Inner Time-Consciousness to Sound in Film and to Film as a Time-Object?
The Difference Between an Event and an Experience in Bresson's A Man Escaped
Perception of Another Body: Husserl's Concept of Paarung (Pairing or Coupling)
Maurice Merleau-Ponty
One's Body as a Being-in-the-World and a Being-Towards-the-World
The Body Schema as an Experience of the Body in the World and the Body as a Knot of Significations
A Pre-reflective Intentionality of the Body
Bodily Resonance and the Situatedness of the Body in Space
The Lived Space and Concrete and Abstract Movements Evoking Spaces
The World as the Primordial Unity of All Our Experiences, Revealed by Passive Synthesis
Bresson's Cinématographe and the Cinématographer as "Metteur en ordre"
References
Part II: A Phenomenological Approach to the Experience and Perception of Film Sound and Film Yields New Insights: Thinking in Movement, Auditory Spaces and the Audiovisual Chord
References