Abstract
Abstract This article explores the expressiveness, the biases and the limitations of the visual and aural modalities and examines the ways sound and visual images may be joined to create meanings in the cinema. The focus is on meanings that could not be made or carried by the visual image alone. The piece provides an interpretive approach to cinema that is based in the filmmakers’ intentions and offers some criteria for judging the aesthetic value and success of the sound track. The author presents brief analyses of American commercial films to serve as examples of skillful and original sound–image relationships.
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