Robert Bresson Response

After a great deal of thinking about what this new experimental video will take to construct, I've been coming back to Robert Bresson's "Notes on Sound" writing.  Our class received the reading during week one - a long time ago, but I'm writing on it now since its becoming a bit more important to me.

The plan I have for this journal entry is to state each of Bresson's points from the reading, and then explain its importance to video and video editing.  At the top of the list, Bresson explains that the list has been compiled to know what business that sound (or that image) has there.  In other words, the list is for people to understand why something has been done the way its been done, why something sounds like it does, and why something has been edited the way it has been edited.

1. What is for the eye must not duplicate what is for the ear.

By this I imagine Bresson meaning that we should try not to create images with sound. Everything must look aesthetically pleasing to the eye, and audio should not be a contributing factor to this.

2. If the ear is entirely won, give nothing or almost nothing to the ear.  One cannot be at the same time all eye and all ear.

Bresson means that we should not go overboard with audio and video at the same time.  They must play off of each other and not create distraction.

3. 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. 

In other words, do not use images when audio would be better suited for the situation or the viewer.

4. A sound must never come to the help of an image, nor an image to the help of a sound.

If the audience or viewer cannot pick up what the image is saying literally or metaphorically, then something is wrong.  The same goes with audio. 

5. If a sound is the obligatory compliment of an image, give preponderance either to the sound or the image.  If equal, they damage or kill each other, as we say of colours.

I imagine that Bresson is saying that an importance must either be put on the sound or the image and not both.  If both are important, the resulting video/film will not convey the message you want it to convey. 

6. Image and sound must not support each other, but must work each in turn through a sort of relay. 

As mentioned above, I think Bresson means that both cannot be given equal importance at the exact same time.  Sound and image must flow together. 

7. 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 two senses in a governable way.  Against the power of speed, of noise, set tactics of slowness, of silence.

I feel that Bresson means that these impatiences can be used as a form of building suspense or irritation.  If the sound does not sound how the audience thinks it should sound, it may make the film either more enjoyable, or less enjoyable. 

That is Bresson's list.