The World Heard seeks to offer a significant reorientation of how we theorize film sound and how we construct the history of film sound. It does this by proposing a theory of film sound centered around the notion of filmic world and by developing a conceptual framework that theorizes how the filmic world is heard. I focus on three prominent ways of auditory encountering in the cinema: audiovisual diegesis, embodying space, and perceived authenticity. Being primarily defined as theoretical lenses, these three topics also act as historical trajectories of film sound where the issues of mode of perception, technological implementation and stylistic evolution are closely intertwined.
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