The Audiovisual Chord

<div>Introduction.-&nbsp;Part I.-&nbsp;“The wind blows wherever it pleases. You hear its sound, but you cannot tell where it comes from or where it is going.”.-&nbsp;Audiovisual perception: the audiovisual contract, heautonomy of sound and image and filmic listening.-&nbsp;Phenomenology, an introductionv.-&nbsp;Part II.-&nbsp;A phenomenological approach to audiovisual experience in practice.-&nbsp;Thinking in movement, and different ways to create space in film sound.-&nbsp;The audiovisual chord, an invitation to the audience to interact.-&nbsp;Part III.-&nbsp;Embodied listening, felt sound and the audiovisual chord in film history.-&nbsp;The audiovisual chord in relation to film as an audiovisual composition.-&nbsp;The importance of embodied (panic) listening in film as an audiovisual composition.-&nbsp;A phenomenological approach to film sound and film at the basis of film-making.-&nbsp;Conclusion.<br></div>