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When sound film was invented, or rather, the sound was coupled to the movies, this is had developed to become the so-called seventh art. The silent film was a complete art which had produced works of art as "Birth of a Nation" (David W. Griffith, 1915) , "Last" (FW Murnau 1924) or the work of Soviet directors as "October" (Sergei Eisenstein, 1928) or "Mother" (Pudovkin 1926) . Even there was a theoretical like Rudolph Arheimar considered that the lack of sound, together with the lack of tridimensionlidad or color, was what gave artistic instrument category of movie camera, to the extent not limited to mechanically reproduce all the features of reality. Hence, even before considering the coupling of sound and, more specifically the dialogue film in a conventionally realistic, develop a theoretical reflection on how to integrate sound into cinema artistically.

Some early theoretical reflections from the Soviets. In the Manifesto of the three "both Eisenstein, Pudovkin Alexandrov as they try to respond to increased concern that provided the sound as a threat to an already established art as something complete and finished, it had reached an enormous universality. And they do defend their incorporation into the film so that, far from being a threat to his aesthetic conceptions, representing its strengthening. Therefore say "only the use of sound as a counterpoint to a piece of visual assembly offers new possibilities for development and improvement of the assembly. The first experiments with sound should be directed towards its 'no coincidence' with visual images. this method of attack is the only sought to produce the feeling that over time will create a new orchestral counterpoint of images, visions, sounds and images. The sound, treated as a new assembly as a separate element of the visual image, inevitably introduce a new medium of the Assembly and extremely effective to express and solve complex problems that we face at this time and we could not solve, with only the help of visual elements.


With the emergence of the first musical comedy Lubitsch as "The Love Parade" or their sarcastic comedy "Trouble in the room, "began to realize the importance of acquiring the text regarding the images. According to Jean Mitry: " It was not integrate the scenes and dialogue in a visual architecture as possible, not avoiding dialogue or reduced to bare essentials, but to signify, by the simple relationship of text and image, that is by contrast, differentiation, contradiction, etc. arising from the juxtaposition of a thing seen and a
coda heard.

was the implementation and extension of the very principles of audiovisual mounting plane, in addition to the specific idea of \u200b\u200bthe sequence of two images or vertical mounting, within the meaning of film development, they got a different idea born of the immediate relationship of visual and verbal or assembly horizontal, because both meanings were simultaneous. Ie constutuye use of contrast between sound and image is not very far and might even say, 'inspired' by the idea of \u200b\u200bthe metaphor of SM Eisenstein.

dialogue in most of the classic film can not be analyzed in abstraction from the pictures, but relative to the set of the film and with images that appear simultaneously. that is, its relation to other possible systems of signification and communication. To examine how dialogue works cinematically a movie, we must also ask, what is its contribution to the configuration of the meaning of it.

realistic dialogue function or ability to communicate or inform the viewer of the different situations that occur in a movie is offered jointly between image and word. The content of the film is not limited to the iconic information offered on the truth and not the content a dialogue is limited to the assessment of what each character says, but is subordinate to the entire contents of the film story and must be analyzed considering what contributes to the overall content of the film story. Through a dialogue between characters can include, for example, what is the position in dramatic and narrative structure as well as their relations with other characters and its possible evolution.
film An example of such overlaps between visual and verbal, is reflected in the work of Billy Wilder and most of the classic American film .

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