Language
is related to body movement, and often participates in the
rhythmic patterns of this movement. Before language, other
rhythmic devices better adapted to the unsettled
self-constitutive practical experience of the Homo Hominis were
used to synchronize the effort of several beings involved in the
endeavor of survival. Although there is no relation between the
experience of cinematography and that of primitive beings on the
move after migrating herds of animals, it is worth pointing out
the underlying structure of synchronicity. The means involved in
achieving this synchronicity are characteristic of the various
stages in human evolution. At a very small scale of existence,
such as autarchic existence, the means were very simple, and
very few. At the scale that makes the writing of movement
possible, these means had become complex, but were dominated by
literacy. With cinematography, a new strategy of synchronization
was arrived at. In many ways, the story of how films became what
they are today is also the story of a conflict between literacy
and image-based strategies of synchronization.
The intermediary phases are well known: the film accompanied by
music ("Don't kill the pianist"), recorded sound, sound
integrated in the movie, stereophonic sound. Their significance
is also known: emulate the rhythm of filmed movement, provide a
dramatic background, integrate the realism of dialogue and other
real sounds in the realism of action, expand the means of
expression in order to synthesize new realities.
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