Audio Technique in a Sequence via Godard's Alphaville
What is like? It is an summary concept, a sense, a feeling. Perhaps it truly is impossible to explain without determining it through observable cases. In film, this is often how the concept of appreciate is looked into: definition is made through the terms, the appears, and the splashes of couples who are engaged in take pleasure in relationships which can be identified as this sort of by a narrative. However , such definitions happen to be bound within the narrative spaces in which they are established; they don't convey a standard understanding of what love is usually. In order to build a more general definition of the notion, a film need to illustrate and discuss this in a manner that goes beyond narrative limitations. A sequence in Godard's Alphaville does this extremely successfully. Numerous formal tactics, particularly in the sound observe, are employed to take out this pattern from the narrative flow, as well as the discussion of love that happens in this area of the film takes up a space that may be shared between the characters, filmmaker, and viewer. The context of this conversation is such that the definition of love is approved a general currency. The sequence is an interlude in the diegesis of the film in which the filmmaker attempts to explore and share a universal truth.
The interlude starts with silence. This is the main feature that distinguishes the sequence in the rest of the film: as Natasha turns her gaze towards the window all ambient sound dies down, and as it diminishes, so too does the sense of narrative space which has been maintained up until this second. At this point all of us experience a suspension of our presence inside the narrative space, and we are relocated to a position of distant statement. Soon, a woman's tone of voice begins to utter lines of poetry. We assume this to be the tone of Natasha, although do not see her speaking. The voice is usually rhythmic and languid, and it seems being very close to us. The voice provides impression of direct talk about: it seems being speaking to us. This sense is supported by the images that compose the visual track: in these, no listener can be identified. The images seem to illustrate the information being presented inside the audio monitor. Shots of Natasha and Lemmy are edited together and lit up in such a way that that they seem to disappear and reappear in a beat that magnifying mirrors the mental pulse from the voiceover: Light that goeslight that results.