Sound in Film

  • Paloma Atencia-Linares


This chapter is focused on the philosophy of film sound in the analytic tradition and its limitations; drawing from current literature in other fields, it aims to complement some philosophical discussions typically centered on the image with their aural counterparts. Firstly, it provides an overview of early skeptical views on the contribution of sound to the artistic status of films and critically questions the status of sound in contemporary philosophical conceptions of film suggesting a revision that takes seriously the idea of film as an audio-visual medium. Secondly, it discusses a central topic in the philosophy of film, the idea of film realism, showing how the discussion of sound may open new directions along three different dimensions: illusion (where sound may stand as a counterexample to the claim that film does not generate perceptual illusions), likeness (where the notion of fidelity can be understood not as a matter of conventions but as based on recognitional capacities), and transparency (where sound recordings can turn out to be a more appealing case of transparent medium than photographic images).


Sound Analytic philosophy Audiovisual Illusion Likeness Transparency 


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© The Author(s) 2019

Authors and Affiliations

  • Paloma Atencia-Linares
    • 1
  1. 1.University of MexicoMexico CityMexico

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