Shirley Mônica Silva Martins

For this study, we propose to analyze the film Modern Times, by Charles Chaplin, from the identification and insertion of its sound elements, and the impact of these choices on the film narrative. In it, word, music, noise and silence are at the service of emotion, solemnity, comedy, norm and its transgression. The Little Tramp and his inadequacy to the world: we wonder if this encounter between the modernity, chaotic and hostile, and the existence of the protagonist produces what Francois Jullien calls «dis-coincidence» (de-coincidence). The philosopher claims that dis-coincidence to be a historical issue inherent in artistic creation. In the midst talkie’s era, Chaplin refuses to use the word for dialogue and narration. However, he makes a sound film. This could be an action of the director interpreted in the light of dis-coincidence? The spoken word exists in rare and occasional moments, in the creation of a modality of 'monologue' – that is intermediated by modern techno...

Is it possible to say that the absence of speech in the film Libera me is a gesture of silencing? We must consider that Alain Cavalier founds his cinema around the spoken word. Even his voice is present in many of these films. Inscribed in his cinema as an orphan of the presence of the spoken word, Libera me was invented in dis-coincidence (François Jullien). Cavalier names the choice to keep in this movie the moments before and after the dialogs of "between". More radical than in the film Thérèse, he also removes the music. Libera me immerses the spectator into an atmosphere built only by noises and silences. The essay on Vilém Flusser's gesture of speaking allows us to reflect upon the gesture of silencing. We propose to analyze the sounds produced by the established relationship between bodies and objects as a performance.

The idea of André Bazin about the opposition between the spatial properties of cinema and the limits of the frame to the painting allows us to study, in this article, what is promoted by Alain Cavalier as space of contact between film and spectator in Libera me.

Il s’agit d’une étude de cas qui envisage les spécificités des trois films conçus à partir d'une esthétique de la parole parlée absente. Ce choix radical en ce qui concerne l’utilisation des éléments sonores serait capable de promouvoir une dé-hiérarchie ? Ou, le contraire, peut-être l’absence de la parole parlée renforcerait sa puissance tandis « que le geste de parler est une conséquence du geste de se taire » (Vilém Flusser, Les Gestes, p. 59) ? Enfin, quel est le rôle des bruits, musiques et silences quand la parole tue ?

For this study, we propose to analyze the film Modern Times, by Charles Chaplin, from the identification and insertion of its sound elements, and the impact of these choices on the film narrative. In it, word, music, noise and silence are at the service of emotion, solemnity, comedy, norm and its transgression. The Little Tramp and his inadequacy to the world: we wonder if this encounter between the modernity, chaotic and hostile, and the existence of the protagonist produces what François Jullien calls " dis-coincidence" (dé-coïncidence). The philosopher claims that dis-coincidence to be a historical issue inherent in artistic creation. In the midst talkie's era, Chaplin refuses to use the word for dialogue and narration. However, he makes a sound film. This could be an action of the director interpreted in the light of dis-coincidence? The spoken word exists in rare and occasional moments, in the creation of a modality of 'monologue' – that is intermediated by modern technologies – and also as sung word. The philosopher Vilém Flusser defends the " gesture of speaking " (le geste de parler) as "one of the manifestations of human dignity". This leads us to ask how far this gesture takes place in Chaplin's aesthetic choice, and whether it could be recognized as a dis-coincidence. We will adopt Rick Altman's methodological approach to film sound treatment. Altman proposes the notion that the analysis of the sound track of a film should be made on the basis of the established relationship between the existing sounds.

For this study, we propose to analyze the film Modern Times, by Charles Chaplin, from the identification and insertion of its sound elements, and the impact of these choices on the film narrative. In it, word, music, noise and silence are at the service of emotion, solemnity, comedy, norm and its transgression. The Little Tramp and his inadequacy to the world: we wonder if this encounter between the modernity, chaotic and hostile, and the existence of the protagonist produces what François Jullien calls " dis-coincidence" (dé-coïncidence). The philosopher claims that dis-coincidence to be a historical issue inherent in artistic creation. In the midst talkie's era, Chaplin refuses to use the word for dialogue and narration. However, he makes a sound film. This could be an action of the director interpreted in the light of dis-coincidence? The spoken word exists in rare and occasional moments, in the creation of a modality of 'monologue' – that is intermediated by modern technologies – and also as sung word. The philosopher Vilém Flusser defends the " gesture of speaking " (le geste de parler) as "one of the manifestations of human dignity". This leads us to ask how far this gesture takes place in Chaplin's aesthetic choice, and whether it could be recognized as a dis-coincidence. We will adopt Rick Altman's methodological approach to film sound treatment. Altman proposes the notion that the analysis of the sound track of a film should be made on the basis of the established relationship between the existing sounds.