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116 M PS E . O R G References List •Berger, A.A., (2015) Media and Communication Research Methods: An Introduction to Qualitative and Quantitative Approaches. SAGE Publications. •Branston, G., Stafford, R., (2010) The Media Student's Book. Routledge. •Buhler, J. and Neumeyer, D., (2016) Hearing the Movies: Music and Sound in Film History. Oxford University Press. •Chion, M. (1994) Audio-Vision: Sound on Screen, Audio-Vision: Sound on Screen. •Chion, M., (1999) The Voice in Cinema. Trans. Claudia Gorbman. New York: Columbia University Press, 1999. Print. •Chion, M., Gorbman, C., (2009) Film, a Sound Art, Film and Culture. Columbia University Press. •Daylight, R., (2014) 'The difference between semiotics and semiology,' Gramma Journal of Theory and Criticism, Vol. 20, pp. 37-50. •EAR magazine, (1989) 13/10: 27 •Ehrat, J., (2005) Cinema and Semiotic. University of Toronto Press. •Ferdinand, D. et al. (1966) Course in General Linguistics. McGraw-Hill (McGraw-Hill paperback edition). •Gill Branston, Roy Stafford, (2010) The Media Student's Handbook. 5th Edition. Routledge. •Laughey, D., (2007) Key Themes in Media Theory. McGraw-Hill Education (UK Higher Education OUP Humanities & Social Sciences Media, Film & Cultural Studies). •Monstruos y Silencios (2020) Monstruos y Silencios: Narrativas para un siglo turbulento. Guillermo del Toro & Alfonso Cuarón. [online video] Available at: https://youtube/uz3sY17FBKY •Murray, L., (2019) Sound Design Theory and Practice: Working with Sound. Taylor & Francis. •Murray, L., (2013) Film sound: Applying Peircean semiotics to create theory grounded in practice. Murdoch University. •Stam, R., (2005) New Vocabularies in Film Semiotics. •Stiller, M., (2016) Sound in Cinema. Atropos Press (Think Media. EGS media philosophy series). •Tagg, P., (2013) Music's Meanings: A Modern Musicology for Non-Musos. Mass Media Music Scholars' Press. the music has a less iconic and more indexical role. Tagg says that indexical signs are so important in music that virtually all musical sign types can be considered as at least partially indexical. Comparing the musical styles of John Williams and Hans Zimmer, Buhler adds, "John Williams' 'Hedwig's Theme' defines the Harry Potter universe in a way that Zimmer's music for The Dark Knight trilogy never will, because The Dark Knight music captures and displays affective gestures rather than forging a secure thematic identity for Batman" (Buhler and Neumeyer, 2016). Signs in Time and Space. As Johannes Ehrat points out, "It seems that no one can reasonably deny that film is experience. Furthermore, no one can deny— on reflection—that film as an experience is at least somewhat unique." (Ehrat, 2005). Film has a spatial dimension and a temporal dimension. Sound is a very powerful tool that can be used to describe both dimensions at any given moment during the film. Aural signs of space. The Spatial Dimension. While the physical characteristics of a scene are usually described by photographic means usually by showing an establishing shot and then cutting to a medium shot or close-up, sound has the potential of relaying the spatial characteristics of a place almost immediately. The wet pavement of a street or the reflectiveness of a squeaky clean marble floor for instance can be rendered effectively with the use of sound. And as Chion points out, "The ear analyzes, processes, and synthesizes faster than the eye." (Chion, 1994, p. 10). Aural signs of time. The Temporal Dimension. "In film, the cinematic specificity also deals with the difficulty of introducing a temporal dimension into the semiological definition of the sign itself." (Ehrat, 2005). Sonic signs in cinema have a mercurial nature to them. This means that the same sound can be signaling one meaning at a given time and a completely different meaning the next moment. A pure example of this is the sound of a car engine working and then breaking down. At one moment, the car engine sound can be indexical of the fact that the car is running well and reaching a certain speed, as well as iconic in its resemblance to the engine of the actual car model and the next moment the engine could sound like its breaking down and be indexical of the malfunction. Sounds can move inside the triangle of iconicity, indexicality, and iconicity over time or as the scene develops in order to signify different meanings. Let's revisit the footsteps (FS) at the end of Better Call Saul S6, Ep. 10, "Something Unforgivable" (2020) at [00:59:20], at first Lalo Salamanca's (Tony Dalton) FS are iconic, they resemble a person with boots walking on gravel. But as the scene progresses, they sound more and more symbolic until they lose their iconic character completely. Producing then a different meaning. This is one of the reasons why film is such a fertile artform for the production of meaning and the communication of complex concepts and ideas. In a film, every sound can become a signifier. Musician David Thomas was once quoted by EAR magazine saying, "If a picture is worth a thousand words ... a sound is worth a thousand pictures." (EAR magazine, 1989).