Abstract

This article aims to explore - through a semiotic methodological inquiry - the way sound is able to create "reality effects" within audiovisual language, thanks to conventional procedures which are always evolving between realism and anti-realism. Considering a brief survey of theoretical positions which emerged historically in relation to the role of sound in audiovisuals, as well as some cinema examples taken from Gus Van Sant's works, the discussion here mostly relates to sound iconism and the impression of likeness. The argument of the relationship between sound and image is based on negotiating reference and likeness procedures, whilst also addressing issues relating to figurativity and the semiotic properties of sound itself.