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date: 17 August 2019

Abstract and Keywords

Martine Huvenne discusses how imagined worlds in film originate in human bodily resonance in correspondence with movements in the sounds themselves and not solely in the interaction between the audio and the visual. In addition to her own research, Huvenne bases her chapter on a case study of the work and practice of the sound designer Nicolas Becker, in this way using informed knowledge and insight from the producer’s perspective. She argues that sounds can reveal invisible aspects of characters, relationships, and inner worlds, allowing an audience to experience a lived world, thereby providing perceptual elements that enables it to create an imagined world.

Keywords: film sound, sound design, embodiment, Foley technique, Nicolas Becker, thinking in movement, phenomenology

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