Watching, and listening to, for instance the opening sequence of Terrence Malick's The New World, or any other movie that takes the joining of sound and image seriously, it strikes you how the sound is completely integrated into the image, and the image onto the sound. The montage of the images has seemingly been composed from the music, and in such tight relationship to it that the two sensations are inseparable. What you are left with is an audiovisual flow moving as one unified poetic expression, generating an aural- visuality pointing towards the music video. Just like a music video, film's audiovisual flow poetically captures the mood and the 'feel' of the experience by harmonically synchronizing the image and the music. Using Vivian Sobchack's theory of cinesthetics as a framework, this book explains how the music-video produces an aural visuality in which sound can be cinesthetically expressed and perceived as image and the image perceived and expressed as sound. The book is aimed filmmakers and cinematic experimenters, music video makers, film editors and VJ's, and film academics.