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THE THEORETICAL
theorists on this exceptionally interesting new invention, that the sound-dialogue-visual film must be considered as a form of expression quite separate from the silent visual film with which these pages are principally concerned.1
It is necessary first to show, then, why this separation of the so-called two techniques is impossible; secondly, why the combination of the two techniques, when including direct-reproduced dialogue, is equally unfeasible; and thirdly, how, with the use of synchronised sound alone, it is possible to conceive a film as a unity, employing sound as a resource of the cinema, and incorporating it in the three forms of montage out of which a film is built.
(a) The Sound-Dialogue-Visual Film
It will be agreed that the aim of the sound-dialoguevisual film is the same as that of the silent visual film with musical accompaniment. To wit, to express cinematically the dramatic content of a theme or story so as to produce the greatest possible emotional effect on the mind of an audience.
The silent film seeks this effect by means of a succession of visual images on the screen. The sound-dialogue-visual film seeks the same end by means of a series of visual images on the screen combined with the reproduction of the voices and sounds of those images. In the first case, the appeal of the film lies absolutely in the vision of the images on the screen, soothed and emphasised by a musical accompaniment. In other words, the mind of the spectator is appealed to through the eye, the music being a subconscious supplement that by its apparent sympathy aids the smooth reception of the images. In the second, the appeal of the film is divided jointly between the sight of the images on the
1 The number of articles, arguments, discussions, lectures, manifestos, conversaziones and debates on the merits and demerits of the talking and silent film has been positively amazing. The general public have had ballots; the Press have had columns; and the atmosphere in the studios themselves has been unprecedented. Probably no other invention for public entertainment has had so much free publicity as the ' talkie ',
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