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Filmontologie der phonosphärischen Präsenz. Auditive Differenzierungen zwischen Zeichenpotenzialen und Leibaffektion

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Abstract

Established media theoretical analyses and theory models in the context of film are mostly focussing the visual level of medial signs, not till then considering a secondary interdependency with other sign systems. The image of film should not serve as a dominant concept of explanation, because in this case the complex and autonomous dimension of sound could not be considered adequately. Sound, noise, music, melodies and soundscapes are no second rate phenomena, they are independent artificial presences whose analysis could contribute a lot for the complex description of the multimodality of media systems.Additionally we have to ask a problematic question, if sounds and sound sequences correlate in a stricter sense with a semiotic sign system that is consistently describable, or if there are serious differences between images, type face, acoustic language and sound sequences of a defined object or complex musical arrangements. These differences could be clearly verified in the context of the multimodality of perception, in which sounds no longer possesses a primary function of denotation (primary meaning). In return we could reveal the primary function of connotation (overlap of primary meaning) – in the context of a bodily affection – as an ontological descriptor of a film inherent phonosphere.

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Miscellany
Klänge, Musik & Soundscapes
Institut für immersive Medien (ifim) (2014)
Grabbe, Lars C.: Filmontologie der phonosphärischen Präsenz. Auditive Differenzierungen zwischen Zeichenpotenzialen und Leibaffektion. In: : . Marburg: Schüren 2014, S. 33-45.http://dx.doi.org/10.25969/mediarep/18177
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