Abstract
Sound and Image, in ideal terms, should have equal position in the film. But somehow, sound always plays the subservient role to the image. In fact, the introduction of sound in the cinema for the purists was the end of movies and the beginning of the talkies. The purists thought that sound would be the ‘deathblow’ to the art of movies. No less revolutionary a director than Eisenstein himself viewed synchronous sound with suspicion and advocated a non-synchronous contrapuntal sound. But despite opposition, the sound pictures became the norm in 1927, after the tremendous success of The Jazz Singer . In this paper, I will discuss the work of French director Robert Bresson, whose films privilege the mode of sound over the image. Bresson’s films challenge the traditional hierarchical relationship of sight and sound, where the former’s superiority is considered indispensable. The prominence of sound is the principle strategy of subverting the imperial domain of sight, the visual, but the aural implications also provide Bresson the opportunity to lend a new dimension to the cinematographic art. The liberation of sound is the liberation of cinema from its bondage to sight.
Highlights
Films are essentially made of two major ingredients—image and sound—both independent of each other
Sound always plays the subservient role to the image
Despite opposition—which is so well pictured in Billy Wilder’s masterpiece, Sunset Boulevard (1950), which dealt with the theme of a silent movie star diva who finds herself left out from movie business—the sound pictures became the norm in 1927, after the tremendous success of The Jazz Singer
Summary
Films are essentially made of two major ingredients—image and sound—both independent of each other. Sound and Image, in ideal terms, should have equal status in the film. The introduction of sound in the cinema for the purists was the end of movies and the beginning of the talkies. I will discuss the work of French director Robert Bresson, whose films privilege the mode of sound over the image. Bresson’s films challenge the traditional hierarchical relationship of sight and sound, where the former’s superiority is considered indispensable. Walter Murch, in his ‘Foreword’ to Michel Chion’s book Audio-Vision, points out that our relationship to sound is more primal and visceral than to sight.
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