| Abstract [eng] |
This master‘s thesis examines the capacity of film sound to actualise visual iconicity. The objects of analysis are two films by British director and screenwriter Peter Strickland, which are to be read as an institutional diptych – Berberian Sound Studio (2012) and Flux Gourmet (2022). The thesis investigates the strategies and means by which Strickland‘s films make sound visible, convert sonic icons into visual ones, establish spaces and represent bodies, compel the spectator to see what is not shown on screen and to feel the physical impact of the soundtrack. Iconisation – associated with visualisation but not limited to the visual – is understood in this thesis not as a metaphor but as a semiotic phenomenon. The research is conducted drawing on the perspective offered by Charles S. Peirce‘s semiotics on the principles of meaning production, connected to a sign typology that distinguishes signs into icons, indices and symbols, depending on the type of relation – resemblance, causality or convention – is operative in the process of semiosis. The analytical part of the thesis identifies iconisation strategies across both films and demonstrates how they shape the processes of meaning generation. |
