Who is giving any thought to sound in the cinema?
No one, really. There is no school which includes in its programme classes on the current status of sound, nor is there any theory on the various forms of sound being taught to student film directors, film editors or even future sound technicians, let alone producers.

No historical overview of existing forms of sound is offered to those whose job it will be to work on producing this visible and audible artistic object: the film.

Some are content to examine existing sound techniques and to try to produce a « good sound" – in other words, a conforming sound.

Yet sound, just as much as the visual aspects of a film, calls for creativity and inventiveness. This is what author Daniel Deshays shows us here by expanding upon the ideas introduced in Pour une écriture du son (in the "50 Questions” Collection), as he rethinks the role of sound in order to repel its planetary standardisation in the cinema.

Daniel Deshays heads the sound training programme at the National school of the performing arts ; he also founded the sound training programme at the Prestigious national school of fine arts.