Auditory filmic space as a sphere, the audiovisual chord, and the intentional archpassive synthesis in Submarino by Thomas Vinterberg (2015)

Martine Huvenne

About this exposition

In Submarino (2010) by Thomas Vinterberg, the characters do not invite identification. Yet, their stories and situations are compelling. Rather than extending an invitation to follow and understand the story, this film invites its audience to live a (filmic) experience. In this article I investigate the role that sound plays in transmitting this experience. In a less than conventional way, I begin with the auditory elements of the film and from film as an audiovisual composition in order to propose a phenomenological approach to film sound and the audiovisual perception of this film. It is not within the scope of this essay to analyse the film as a whole. Rather, I would like to explore the way in which Vinterberg makes the audience feel the essence of his story through the compositional structure of the film. which I compare refer to a tonal musical structure, investigating the compositional functionality of filmic elements. To develop this approach, I will focus on some film fragments and on three key concepts: the auditory filmic space, the audiovisual chord, and the unity of filmic elements in an intentional arch.phenomenological concept of passive synthesis
typeresearch exposition
last modified28/10/2015
share statusprivate
licenseAll rights reserved
published inJournal of Sonic Studies
portal issue10. Issue 10
connected toJournal of Sonic Studies

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220425 JSS10 Huvenne Martine Huvenne All rights reserved
220420 JSS10 Huvenne Martine Huvenne All rights reserved
220409 JSS10 Huvenne SUBMARINO 2010 - Official Trailer HD - English subtitles Nimbus Film All rights reserved
220403 JSS Banner Journal of Sonic Studies All rights reserved

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