, crackling and pulsating, even now the cinema has kept its ontologically visual definition no less intact (Chion, 1994, 143).
Altman (1992) notes the same thing when he indicates how filmmakers once viewed the issue:
Intent on exacting satisfaction, they found a clever method of disenfranchising the sound track. cinema was cinema before the sound track was added, they said, so sound cannot be a fundamental component of the cinematic experience. Historically, sound is an add-on, an afterthought, and thus of secondary importance (Altman, 1992, 35).
Altman further notes how theorists have carried through with this idea as they continue to place the image above sound in their analysis of the filmmaking process:
A surprising number of theoreticians blithely draw conclusions about the nature of cinema simply by extrapolating from the apparent properti
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