So sound temporalized the image: not only by the effect of added value but also quite simply by normalizing and stabilizing film projection speed. A silent film by Tarkovsky, who called his cinema "the art of sculpting in time," would not be conceivable. His long takes are animated with rhythmic quiverings, convulsions, and fleeting apparitions that, in combination with vast controlled visual rhythms and movements, form a kind of hypersensitive temporal structure. The sound cinema can therefore be called "chronographic": written in time as well as in movement.
Michel Chion's Audio-Vision: Sound on Screen
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