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