After reading your post, my knee jerk reaction was to disagree with your assertions about the realism of film owing more to the visual than the aural. After all, how does one rank the assumed spectrality of sound versus image as it pertains to film? And what does it mean for something to be "narratively true", anyway
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man, it's been a while; who knows, my next post could be on "epistemology and ontology of 'the best blt ever'"
I'm going to focus here on the issue of irony, and the two-track medium of film/video:
First, a clarification: you're right to note that irony can exist between any two accounts of the same event, whether they be aural-visual (audio to film), textual-visual (inter-titles to film action, word-bubbles to graphic), textual-textual (two written accounts from different POVs). But what makes the first (aural-visual) kind of irony different from the others is simultaneity.
Only in a two-track medium like film can you have one track simultaneously contradict the other. Every other irony is sequential: for textual-visual irony, see Keaton in The General, where an inter-title says "After a comfortable evening" and then we see that Keaton is all folded up and stiff; for aural-aural irony, Garrison Keillor does it sequentially all the time on radio in Prairie Home CompanionSequentiality is interesting, but it raises all sorts of
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I'm going to focus here on the issue of irony, and the two-track medium of film/video:
First, a clarification: you're right to note that irony can exist between any two accounts of the same event, whether they be aural-visual (audio to film), textual-visual (inter-titles to film action, word-bubbles to graphic), textual-textual (two written accounts from different POVs). But what makes the first (aural-visual) kind of irony different from the others is simultaneity.
Only in a two-track medium like film can you have one track simultaneously contradict the other. Every other irony is sequential: for textual-visual irony, see Keaton in The General, where an inter-title says "After a comfortable evening" and then we see that Keaton is all folded up and stiff; for aural-aural irony, Garrison Keillor does it sequentially all the time on radio in Prairie Home CompanionSequentiality is interesting, but it raises all sorts of ( ... )
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