Quote Originally Posted by JSE
Don't all those, except for the last two, fit under Audio/Video? And no, I never said that but you did elude to that in your statement,

"Editing techniques, camera techniques, there is still more that can be done to push the envelope and to tell the narrative in a different, unique way."

that's what I was responding to.

I guess my point is this. Granted we have gone off topic here but,

I think the largest most significant advances in film/movie/audio have already been made. Will there be new formats, new "narrative structures", new "mixed genres"? Sure there will be. But to what extent? Will they be groundbreaking?
I knew when I said 'Sound Design' that you would probably try to say that falls into the picture/sound category, but what I am referring to here is NOT the playback quality, but the key word: design of the film's sound in terms of how the sound enhances the narrative structure. There are many films that use sound as narrative cues for instance, which does not really have to do with the quality of that sound, but rather the score, soundtrack, on-set sound effects, off-set sound effects, etc etc etc. If you are familiar with the film THE PASSENGER starring Jack Nicholson there is a brilliant scene in which Jack is playing back a tape that he recorded of himself earlier. As he is listening the camera moves to where we are unable to see Jack and then when he reappears we have gone back in time to where he is recording the message. This is a brilliant transition using non-diagetic sound in order to build a certain narrative structure. There are many other instances of how the sound design can be used to also contribute to the overall narrative of the film, but I don't think I need to go into how important the overall sound (not quality necessarily) of a film is vital to the films overall impact.