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The Passenger or the search for identity (FW31)

On the use of counterpoint in sound design
The dense clarity of the didactic counterpoint
On the use of counterpoint in sound design. By Gustavo Costantini
When Michel Chion wrote Le Son au Cinma – back in 1985 – he was starting his long journey through Cinema as Sound Art. La Voix au Cinma (1982) – wonderfully translated into English as Voice in Cinema by Claudia Gorbman in 1999, and including a new chapter by Chion about the voice in the 80s and 90s – was the first book on the subject, followed by Le Son au Cinma and Le Toile Troue (1988, not translated). The three books were seen then as the richest approach to date about the relationship between Sound and Image, though many important terms had to wait to be developed or even considered. Such a wider perspective was later reflected in the book Audiovision (1991) and further more on Le Son (1999) and recently in Un Art Sonore, le Cinma (2004, both not translated). Le Son au Cinma introduced some interesting notions that were discussed and re-thought by him incessantly.