Audiovisual theories of sound
Leo Murray · 2019
Much of the literature on sound theory has its origin in cinematic sound since cinema was for a long time the preeminent audiovisual medium. Its cultural dominance permitted serious and extensive theoretical analysis and criticism. Since the introduction of synchronised sound to cinema theorists have argued about the status of sound, its place in the medium and its functions, advantages and possibilities. With early film theorists’ views of sound ranging from cautious optimism to outright fear, it was left to filmmakers themselves to navigate the ways that sound could be integrated into cinema. This chapter examines viewpoints of film theorists and sound theorists as well as sound practitioners. Writers like Michel Chion, Rick Altman and Walter Murch have been influential in envisaging how film sound should be framed and, in some cases, determining what film sound could be. This chapter ends with a re-examination of different theories of sound to discuss their commonalities and particular strengths.