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MEDIA LITERACY AND INTERCULTURAL DIALOGUE Strategies, Debates and Good Practices SOUND, DEAFNESS AND AUDIOVISUAL PERCEPTION Adama Ouedraogo Film Researcher ESAV-LARA Universidad de Toulouse 2 adaham777@yahoo.fr Ericler Oliveira Gutierrez MPhil Education Universidad Autònoma de Barcelona kekagutierrez@hotmail.com Abstract The article deals with the perception of sound on audiovisual messages by the deaf and its implications on decoding the image. It is assumed that the message reception happens by alternative routes. For the research, we have used audiovisual messages edited both with and without sound. Results indicate that the perceptive reception route involving sound is not just auditory but implicating the whole body. Moreover, results point out to the recognition of a private group’s preferences regarding interaction with sound by auditory means, indicating new forms of perception that must be considered in the context of entertainment and education. Keywords: Sound, deaf, reception, audiovisual perception, education. There can be no one so deaf as he who will not listen. Molière 1. Introduction The research is based on the authors’ experience with audiovisual and filmtraining proposals for hearing impaired people. The desire to investigate the theme stems from the clues that emerged during the meeting held in Brasilia called I Congress of Cinema for the Hearing Impaired, with the author’s participation. The research is oriented towards the following reflections: is it necessary to use audio on films made for the deaf? Concerning the use of audio on film, how does it affect reception and perception? Audiovisual perception stimulates the brain so that both vision and audition work together to ensure that the spectator does not see a fractured image; on the contrary, audiovisual perception produces a new image, a juxtaposed text (Chion: 1994). According to Deleuze (2007: p. 303): 129
MEDIA LITERACY AND INTERCULTURAL DIALOGUE Strategies, Debates and Good Practices What constitutes an audiovisual image is a disjunction, a dissociation from the visual and the sonant, both autonomous, but at the same time an immeasurable relationship of an “irrational” that connects one to the other without becoming a whole, without turning into the minimum whole. Ouedraogo (2011), in an investigation of cinema, sound and education, highlights the relationship between sound and image that implies the consolidated coupling of eye-ear. The authors consider the audiovisual perspective of the senses of sight and hearing taking into account that spectators have both. However, we are proposing an analysis about other perceptive paths, tread by subjects that lack the auditory reception of sound. The hearing-impaired develop sight as their main information input source. Without hearing, they cannot perceive audiovisual as those without this handicap. How do the hearing-impaired assign meaning to image and sound? If they follow a different perceptive path, will their reception of audiovisual works do so as well? The question of how deaf people perceive audiovisual stimulus has stirred sound researcher Michael Chion. The author asks if, when they are watching television, “(...) the deaf mobilize the same regions at the center of the brain as hearing people for sound (...)”? (1994, p. 12).The author does not give an answer, but his questions moves us to conduct our research more specifically with the deaf. Those who were born with bilateral deep neuro-sensorial deafness have never experience hearing sound. They do not have auditory memory, have not developed oral language, which characterizes pre-language deafness. The profoundly deaf are not capable of hearing the human voice. Even though they cannot hear those sounds, according to Freeman, Carbin and Boese (1999), sound can reach them through bone or skin, permitting the deaf the perception of the mechanical wave of vibration. In that sense, even though the deaf cannot hear, they have all the conditions necessary to interact with sound, something that is not exclusive of hearing people. 2. Sound, deafness and stereotypes Cinema has dealt with the relationship between sound and deafness in some films, which will help us illustrate how that confluence has helped build stereotypes. On Children of a Lesser God, by Randa Haines, the deafnesssound dichotomy points out the differences between two worlds. Actor William Hurt plays a speech teacher who falls in love with his former student Sarah, a deaf character played by Marlee Matlin. They are protagonists of a sensible narrative in which the importance of sounds lies in its representation of the difference between the deaf and the hearing. While Hurt, playing professor Leeds, finds self-realization by teaching his deaf students to speak and sing, Sarah defends deaf culture and sign language, which does not include speech or sound as an element of constitution of its identity. On this movie narrative, we highlight the scene in which deaf students sing and dance for their parents on their graduation. On Thoma’s conception (2002), this scene, which brings up 130
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