‘I’m Looking Through You’ The audiovisual contract and collective images of Liverpool from The Magnet to Beat City ‘[…] Like one of those movie dissolves in which you know you’re not in the real world, but it seems that way anyway.’ (Robert Persig, 1974:331) Dr Mike Brocken
[email protected] www.ianpercy.me.uk ‘I’m Looking Through You’ The audiovisual contract and collective images of Liverpool from The Magnet to Beat City ‘[…] Like one of those movie dissolves in which you know you’re not in the real world, but it seems that way anyway.’ (Robert Persig, 1974:331) Audiovisual histories are assembled on the basis of phenomenologies: they consist of mutual profiles between the sounds and the visuals and these award us certain ‘types’ of reality. The primacy of the eye and the ear informs us of the ‘truth’ and therefore correlates with the human tendency to ascribe exceptional credence to sounds and visuals on the basis of their inter-related sensory veracity. This, one might suggest, is an isomorphism created by the designer or director that can clearly be identified by the viewer as ‘real’; Nicola Phillips uses Chion’s work to consider how the audiovisual contract is put into practice in order to create a syntax of authentic imagery: The first section is concerned with elucidating how sound and image transform one another in the filmgoer's perception. According to Chion, this transformation occurs not because of any "natural harmony" between image and sound, but owing to the "audio-visual contract", wherein, "the two perceptions mutually influence each other...lending each other their respective properties by contamination and projection." (9) Chion's notion is that sound, for example, music, "adds value" to the image.