Michel Chion

Abstract: The Audiovisual Contract Projections of Sound on Image The Three Listening Modes Beyond Sounds and Images Lines and Points: Horizontal and Vertical Perspectives on Audiovisual Relations The Audiovisual Scene The Real and the Rendered Phantom Audio-Vision Sound Film--Worthy of the Name Television, Video Art, Music Video Toward an Audiologovisual Poetics Introduction to Audiovisual Analysis

Abstract: I. Mabuse: Magic and Powers of Acousmetre1. The Acousmetre2. The Silences of Mabuse3. The I-VoiceII. Tamaki: Tales of the Voice4. The Voice Connection5. The Screaming Point6. The Master of Voices7. The Mute Character's Final Words8. The Siren's SongIII. Norman Or The Impossible Anacousmetre9. The Voice that Seeks a Body10. The ConfessionEpilogue: Cinema's Voices of the 80's and 90's

Abstract: Preface to the English Edition Translator's Note Part I. History 1. When Film Was Deaf (1895-1927) 2. Chaplin-Three Steps into Speech 3. Birth of the Talkies or of Sound Film? (1927-1935) 4. Jean Vigo-The Material and the Ideal 5. The Ascendancy of King Text (1935-1950) 6. Babel 7. The Time It Takes for Time to "Harden" (1950-1975) 8. The Return of the Sensorial (1975-1990) 9. The Silence of the Loudspeakers (1990-2003) 10. On a Sequence from The Birds: Sound Film as Palimpsestic Art Part II. Aesthetics and Poetics 11. Jacques Tati, the Cow, and the Moo 12. The Disappointed Fairies Around the Cradle 13. The Separation 14. The Real and the Rendered 15. The Three Borders 16. Audiovisual Phrasing 17. Alfred Hitchcock: Seeing and Hearing 18. The Twelve Ears 19. Orson Welles: The Voice and the House 20. The Talking Machine 21. Faces and Speech 22. Andrei Tarkovsky: Language and the World 23. The Five Powers 24. God Is a Disc Jockey 25. Max Ophuls: Music, Noise, and Speech 26. Like Tears in Rain Glossary List of Illustrations Index

Abstract: Everyday or amateur cultural and media production has long been a site of both optimism and contestation for cultural studies, but there is now more justification than ever to focus on it. On the o...

Abstract: What Is Qualitative Research? Interviews Ethnography Visual Sociology Data Analysis Writing Ethics in Qualitative Research

Abstract: The analytical discussion of acousmatic music can benefit from being based on spatial concepts, and this article aims to provide a framework for investigation. A personal experience of soundscape listening is the starting point, and uncovers basic ideas relating to the disposition and behaviour of sounding content, and listening strategy. This enables the opening out of the discussion to include source-bonded sounds in general, giving particular consideration to how experience of sense modes other than the aural are implicated in our understanding of space, and in acousmatic listening. Attention then shifts to a source-bonded spatial model based on the production of space by the gestural activity of music performance, prior to focusing in more detail on acousmatic music, initially by delving into spectral space, where ideas about gravitation and diagonal forces are germane. This leads to concepts central to the structuring of perspectival space in relation to the vantage point of the listener. The final section considers a methodology for space-form investigation.

Abstract: A generation of scholars in multiple disciplines has investigated sound in ways that are productive for anthropologists. We introduce the concept of soundscape as a modality for integrating this work into an anthropological approach. We trace its history as a response to the technological mediations and listening practices emergent in modernity and note its absence in the anthropological literature. We then trace the history of technology that gave rise to anthropological recording practices, film sound techniques, and experimental sound art, noting productive interweavings of these threads. After considering ethnographies that explore relationships between sound, personhood, aesthetics, history, and ideology, we question sound's supposed ephemerality as a reason for the discipline's inattention. We conclude with a call for an anthropology that more seriously engages with its own history as a sounded discipline and moves forward in ways that incorporate the social and cultural sounded world more fully.