Abstract
Abstract How does cinema work as a fundamentally rhythmic medium? What aesthetic elements make up a film’s unfolding rhythms, and how do they impact the embodied viewer-listener? This chapter expands on received theories by focusing on multisensory cinematic rhythms and their affective and atmospheric operations. Drawing on a range of theorists and practitioners (Jean Epstein, Sergei Eisenstein, Jean Mitry, Robert Bresson, Jennifer Barker, and Michel Chion), this chapter argues for a conception of audiovisual rhythm that turns on the repetition of motifs across multiple scenes. Barry Jenkins’s Moonlight figures as the central case study, as audiovisual rhythm is shown to crucially inform the film’s immersive sensory address to the audience as well as the film’s social and political themes.
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