Abstract
This article is an attempt to analyze Lettrist film experiments — especially Traité de Bave et d’Éternité and Le film est déjà commencé? — and the concept of montage discrépant in the context of the development of sound-editing techniques. The author, referring to early film theory and Gilles Deleuze’s notion of sound-image, tries to fill in the ideological blank between them with Isidore Isou’s manifesto. The ideas and works of Isidore Isou and Maurice Lemaître in the 1950s are compared with later films directed by French avant-garde artists. The comparison reveals heavy influence and allows us to treat the Lettrist experiments as the missing link in the process of autonomization of cinematic sound. In the course of this analysis, the author proposes a new translation of French terminology on account of the previous one not expressing the meaning properly and leading to probable misunderstandings.
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