ABSTRACT
In the Chelsea Girls/Two or Three Things I Know About Her examples, “bad sound” in the former makes synchronization function as out-of-synch. In the latter, speech is always found in synch, synchronicity is never lost, even when a sound/image construction signifies and refers to itself, i.e. the apparatus cinema, or the ostensible filmmaker in the imaginary space, present in absence. The so-called “natural” homogeneity of sound with image is a base which remains the convention, in the Godard. Thus, any disturbances created for the viewer in the latter are literary, against Chelsea Girls' literalness.
