Michel Chion’s Audio-Vision is a seminal work on the relationship between sound and image in cinema, offering valuable insights for anyone in sound design or film production. Chion highlights how sound is not simply an add-on to visual storytelling but is integral to how audiences perceive and experience the narrative. His key theories on “synchresis,” different modes of listening, and the psychological effects of sound make his work essential for understanding the creative and technical roles sound plays in film.
Synchresis: The Synchronization of Sound and Image
One of the core concepts Chion introduces is synchresis, a blend of the words “synchronism” and “synthesis.” Synchresis refers to the fusion of a sound with an image, which creates a unified perception. In film, this is the principle that allows sound and visuals to merge into a cohesive experience, where the audience links what they hear to what they see—even when the sound might not be entirely accurate or realistic.
For example, in Star Wars, the hum of lightsabers or the sounds of spaceships are completely invented, but because of synchresis, audiences accept these sounds as part of the film’s reality. Chion argues that even when sound is “artificial,” it feels real if synchronized well with the visual action, becoming a part of the film’s narrative truth.
In the context of modern filmmaking, sound designers can use synchresis to heighten the impact of visual effects. Think of fight scenes, where punches sound louder and more resonant than in reality. This exaggeration is not noticed by the audience because synchresis convinces them that the sound belongs to the action. Similarly, in horror films, everyday sounds like creaking doors are often amplified or altered to evoke fear, yet the audience seamlessly associates these exaggerated sounds with the visuals.
Modes of Listening: Understanding How Audiences Perceive Sound
Chion introduces three primary modes of listening: causal, semantic, and reduced listening, each of which serves a unique purpose in sound design.
- Causal Listening refers to identifying the source of a sound. In film, this is the most common mode of listening, as audiences tend to associate sounds with specific visual cues. For example, the sound of footsteps immediately cues viewers to associate them with a character’s movement. This can be used creatively in thrillers or horror films, where off-screen sounds (like footsteps approaching) create tension.
- Semantic Listening involves focusing on language and dialogue to extract meaning. This is particularly crucial in narrative-driven films where the plot is communicated through conversations or monologues. The sound design must ensure that dialogue is clear and distinct, even amidst heavy background noise. Chion suggests that semantic listening goes beyond language; it includes any sound that has symbolic meaning, such as alarms, which signify danger or urgency.
- Reduced Listening is a more abstract concept, where the audience listens to the sound itself without concern for its source or meaning. In reduced listening, one focuses on the qualities of the sound—its texture, pitch, rhythm, and timbre. Filmmakers can use this mode to create atmospheres that evoke certain emotions. For example, drone sounds or deep, reverberating noises can create a sense of foreboding without needing a specific visual reference.
Each of these modes of listening can be used strategically in film and game audio to guide the audience’s emotional and intellectual engagement with the story. The manipulation of these listening modes helps to create an immersive environment, whether it’s the high-tension suspense in a thriller or the deep emotional resonance in a drama.
The Power of Sound Design in World-Building
Chion emphasizes that sound in film often expands the experience beyond what is visible on screen, a process he refers to as “rendering the space.” This is especially important in genres like fantasy or sci-fi, where the audience must be transported to worlds vastly different from their own. In these genres, sound helps to establish the scale, mood, and geography of imagined worlds.
A notable example is the Lord of the Rings trilogy, where the soundscapes of Middle-earth—wind sweeping over mountaintops, the rustling of leaves in forests, and the echoing caves of Moria—create a world that feels expansive and alive. Even without the visuals, the sound alone could transport the audience to these distinct locations.
The same principle applies to video games, where immersive sound design is crucial for creating engaging and believable environments. In open-world games like The Witcher 3: Wild Hunt, the ambient sounds of bustling towns, rustling trees, and distant battles fill the world, making it feel continuous and alive even when the player is not looking directly at those elements.
Sound as a Psychological Tool in Film
Chion also discusses how sound can manipulate an audience’s psychological state. By controlling the pitch, rhythm, and intensity of sound, filmmakers can evoke specific emotional responses. High-pitched, fast-paced sounds can induce anxiety, while low, slow sounds can create a sense of calm or dread.
One clear example of this psychological manipulation is in Jaws. The film’s iconic two-note theme, which increases in intensity as the shark approaches, has become synonymous with the feeling of impending danger. The sound design alone is enough to make the audience tense, even before any visual of the shark is shown.
In a broader sense, sound can serve as a metaphorical tool, representing ideas that go beyond the literal events on screen. For instance, in Dunkirk, the ticking sound of a clock is used throughout the film to evoke the relentless passage of time and the urgency of the characters’ plight. The ticking sound, which grows louder and more insistent as the film progresses, mirrors the mounting tension and desperation of the soldiers trapped on the beach.
Chion’s Concept of “Vococentrism”
Another significant concept introduced by Chion is “vococentrism,” or the dominance of the human voice in sound design. He argues that, in most films, the audience’s attention is automatically drawn to dialogue or the human voice, even when other sounds are present. Filmmakers can use this to their advantage by playing with the balance of dialogue and environmental sound.
For example, in The Social Network, the rapid-fire dialogue between characters drives the plot forward, while background sounds like the clinking of glasses and murmured conversations create the atmosphere of a busy bar. However, the sound design ensures that these ambient sounds never distract from the dialogue. Chion suggests that vococentrism is a natural tendency for audiences, but by deliberately disrupting it, filmmakers can create dissonance or emphasize the surrounding environment.
Applying Chion’s Theories to Modern Sound Design
Michel Chion’s Audio-Vision offers essential insights into how sound and image work together in film to create a unified experience. His concepts of synchresis, modes of listening, and the psychological impact of sound are invaluable tools for filmmakers, sound designers, and game developers alike. By understanding how sound influences perception, creators can enhance the emotional depth of their work and create more immersive experiences for their audiences.
Whether you’re crafting the sound for an intense battle scene, designing the ambient world of a video game, or developing a narrative-driven film, Chion’s theories provide a framework for thinking about sound not as an afterthought but as a crucial element of storytelling.
For further reading on Michel Chion’s work, make sure to explore his books, including Audio-Vision: Sound on Screen.