ABSTRACT
This essay's opening section is occupied with the "sounding" of a theoretical vignette Althusser's famous scene of interpellation a vignette which in fact stages a precise dramaturgy of implication by way of listening and seeing. This essay explores other famous scenes of sound-image synchronization: scenes that stage synchresis and synchronicity, the spatiality of music and the temporality of images, and where the turning back implicates "sounding" with the usual figuring, while it constitutes always already political spectators. The 1998 restoration involved not only the reinstatement of previously omitted scenes, but also, more radically, the overhaul of the soundtrack, that was remixed in Dolby Digital. Mancini's score represents a sound diegesis by encompassing the sequence from without, accompanying the tightly choreographed camera movement almost in the way of dance music. Indeed, it may be said that Touch of Evil's plot unfolds by way of reiterated assertions and equivocations of identities, all in a world endowed with overdetermined yet shifting aural legibility.
