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Editing Spaces as an Audio-Visual Composition

Output: Contribution to book/anthology

In Gravity (2013) by Alfonso Cuaròn, the main character dr. Ryan Stone has a brief radio communication with a fisherman on Earth. In Aningaaq (2014) by Jonàs Cuaròn (Alfonso's son and co-scriptwriter of Gravity) we hear the similar auditory elements from the other side of the communication, in a different context.

According to Michel Chion the notion of auditory field in film, is completely in function of what appears on screen. But can we also claim that the image is in function of the auditory field? Is it necessary to start from image or what appears on screen to analyze film?
In this chapter I investigate the notion of filmic space, spatial montage and the editing of spaces in film with an analysis of Gravity by Alfonso Cuaròn as case study. In this film, image and sound create the ‘lived space’ of dr. Ryan Stone. As a public we ‘resonate’ with her experiences, situated in the filmic space through sound. Even if the visuals are amazing in Gravity, I argue that sound is a key factor in the communication with the public. This brings us back to Eisenstein’s concept of film as an audiovisual composition: an interaction of music, sound and images as a unified form.

I propose a phenomenological approach of sound and listening with a focus on the auditory space within audiovisual perception as starting point for the analysis. This includes the questioning of four topics: filmic space, the way movement evokes and creates space in audiovisual perception, listening and film as an audiovisual composition.
Original languageEnglish
Title of host publicationFilm Text Analysis : New Perspectives on Analysis of Filmic Meaning
EditorsJanina Wildfeuer, John A. Bateman
Number of pages20
PublisherRoutledge USA
Publication date11-Oct-2016
ISBN (print)9781138911383
StatePublished - 11-Oct-2016

Publication series

NameRoutledge Advances in Film Studies

ID: 14812037