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In his first documentary Mailer sees “something in his adenoids” in a moment of slippage that renders the aural a visual prop. The experience of seeing his voice disrupts Mailer’s viewing experience by first troubling the traditional assumption that film is a visual medium and then forcing Mailer to confront himself as both image and sound. Mladen Dolar provides a means of understanding the revolutionary and revelatory potential of sound, in the form of the voice, in relation to both identity and film, as he writes: | In his first documentary Mailer sees “something in his adenoids” in a moment of slippage that renders the aural a visual prop. The experience of seeing his voice disrupts Mailer’s viewing experience by first troubling the traditional assumption that film is a visual medium and then forcing Mailer to confront himself as both image and sound. Mladen Dolar provides a means of understanding the revolutionary and revelatory potential of sound, in the form of the voice, in relation to both identity and film, as he writes: | ||
{{quote|[T]he visible world presents relative stability, permanence, distinctiveness, and a location at a distance, the audible presents fluidity, passing, a certain inchoate, amorphous character and a lack of distance. The voice is elusive, always changing, becoming, elapsing, with unclear contours, as opposed to the relative permanence, solidity, durability of the seen. (79). | |||