Eisenstein, S. M., Pudovkin, V. I., & Alexandrov, G. V. (1928). A statement. Retrieved January 16, 2006, from http://lavender.fortune ... slane/575/statement.htm
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 27/01/2006, 11:24
Montage is the only reason for the power of cinema. Becasue applying sound individually to each section of the montage reinforces the independence of that section and therefore destroys the cohesion of the whole montage and weakens any meaning in it, the case is made that sound must be applied nonsynchronously . There should be a counterpoint of aural and visual images.
Pudovkin, V. I. (1934). Asynchronism as a principle of sound film. Retrieved September 10, 2021, from https://web.archive.org ... ne/575/asynchronism.htm
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 10/09/2021, 10:29
"It would be entirely false to consider sound merely as a mechanical device enabling us to enhance the naturalness of the image."
"If we compare the sound to the silent film, we find that it is possible to explain the content more deeply to the spectator with relatively the same expenditure of time."
As an explanation of the possibilities of asynchronous sound film, he gives an example of an urban dweller stranded in a desert who hears not sounds of the desert but sounds of the city. "...the principle elements in sound film are the aysnchronous and not the synchronous". For Pudovkin, this is how natural perception is. He points out that we tend to hear events before we see them therefore our natural vision and hearing are asynchronous.
