dc.contributor.author
Tüzen Isenberg, Senem
dc.date.accessioned
2025-10-04T19:35:12Z
dc.date.available
2025-10-04T19:35:12Z
dc.date.issued
2025-10-03T12:42:50Z
dc.date.issued
2025-10-03T12:42:50Z
dc.identifier
http://hdl.handle.net/10230/71364
dc.identifier.uri
http://hdl.handle.net/10230/71364
dc.description.abstract
Treball de fi de màster en Estudis de Cinema i Audiovisual Contemporanis
dc.description.abstract
Tutor: Santiago Fillol
dc.description.abstract
This thesis explores how digital sound technologies—particularly the aesthetic use of noise and Dolby multichannel systems—have reconfigured cinema’s sensory capacities. Through a comparative analysis of Un Lac (2008) and Leviathan (2012), I investigate how sound becomes not mere accompaniment but the primary structuring force of perceptual experience, crafting haptic, affective time-images that foster tactile intimacy between spectator and film. In this zone of tension—this close-farness—the f ilms' sensory outreach meets the spectator's longing (Marks, 1999), dissolving the boundaries between seeing and being seen (Merleau-Ponty, 1968). Grounded in Marks' haptic visuality, Deleuze's affect theory, and Merleau-Ponty’s phenomenology, this thesis traces how cinematic sound—especially noise—produces an immersive, vibratory field that disorients representational logic and opens up new forms of sensorial cinema.
dc.format
application/pdf
dc.rights
Licencia CC Reconocimiento - No Comercial-Sin Obra Derivada 4.0 Internacional (CC BY-NC-ND 4.0)
dc.rights
https://creativecommons.org/licenses/by-nc-nd/4.0/
dc.rights
info:eu-repo/semantics/openAccess
dc.subject
Cinema experimental
dc.title
From Noise to Aura: Haptic Audio-vision and Cinematic Perception in Un Lac (2008) and Leviathan (2012)
dc.type
info:eu-repo/semantics/masterThesis
