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Statement on sound

Sergi Eisenstein, Vsevolod Pudovkin, & Grigori Alexandrov. Statement on sound. The whole world now speaks of the ‘silent’ that has found its voice We who work in the USSR recognize the practical implementation of sound cinema is not feasible in the near future

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Statement on sound

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  1. Sergi Eisenstein, Vsevolod Pudovkin, & Grigori Alexandrov Statement on sound

  2. The whole world now speaks of the ‘silent’ that has found its voice • We who work in the USSR recognize the practical implementation of sound cinema is not feasible in the near future • It’s opportune to make a statement • Contemporary cinema, operating through visual images, has a powerful effect on the individual & rightfully occupies one of the leading positions in the ranks of the arts • Great influence is montage

  3. The significant features • Strengthen & broaden the montage methods of influencing the audience • Easy to distinguish the insignificance of color & stereoscopic cinema in comparison with the great significance of sound • Sound is a double-edged invention , will be along the line of least resistance, i.e. in the filed of the satisfaction of simple curiosity • Commercial exploitation of the most saleable goods, i.e. of talking pictures – those in which the sound is recorded in a natural manner

  4. The danger comes accompanied by the loss of innocence, purity of the initial concept of cinema’s possibilities can only intensify its use for ‘dramas of high culture’ & other photographed presentations of a theatrical order Sound used in this way will destroy the culture of montage Detrimental to montage which operates not with fragments but through the juxtaposition of fragments Only the contrapuntal use of sound vis-à-vis the visual fragment of montage will open up new possibilities for the development & perfection of montage

  5. The first experiments in sound must aim at a sharp discord with the visual images • will result consequently in the creation of a new orchestral counterpoint of visual & sound images • The first blind alley • Intertitle & all the vain attempts to integrate it into montage composition as a unit of montage • The second blind alley • comprises explanatory sequences (e.g. long shots) which complicate the composition of the montage & slow down the rhythm

  6. Sound, treated as a new element of montage Contrapuntal method of structuring a sound film not only does not weaken the international nature of cinema but gives to its meaning unparalleled strength & cultural heights With this method of construction the sound film will not be imprisoned within national markets Speeding the idea contained in a film throughout the whole globe, preserving its world-wide viability

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