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>Date: Sat, 08 Mar 2003 11:01:01 -0500
>From: "viva" <[log in to unmask]>
>To: <[log in to unmask]>
>Subject: <no subject>
>
>Hi James,
>I donąt have the address to reply to the film list. I only have the
salon
>address and it doesnąt receive emails. I thought this would be
interesting
>to read. Post it to the list if you like.
>
>-virginia valdes
>Www.virginiavaldes.com
>
>Notes on sound by Robert Bresson
>
>Sight and Hearing
>
>To know what business that sound (or that image) has there.
>
>What is for the eye must not duplicate what is for the ear.
>
>If the eye is entirely won, give nothing or almost nothing to the ear.
One
>can not be at the same time all eye and all ear.
>
>When a sound can replace an image, cut the image or neutralize it. The
ear
>goes more toward the within, the eye toward the outer.
>
>A sound must never come to the help of a image, nor an image to help
the of
>sound.
>
>If a sound is the obligatory complement of an image, give
preponderance
>either to the sound or to the image. If equal, they damage or kill
each
>other, as e say of colors.
>
>Image and sound must not support each other, but must work each in
turn
>through a sort of relay.
>
>The eye solicited alone makes the ear impatient, the ear solicited
alone,
>makes the eye impatient. Use these impatiences. Power of the
cinematographer
>who appeals to the senses in governable way. Against the tactics of
speed,
>of noise, set tactics of slowness, of silence.
>
>
>
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