Timing Is Everything
Timing Is Everything
Sandrini’s Stutter and the Representability of Time
The modernization of an increasingly urban and industrial Argentina and the effect of modernity on the experience of time provide a backdrop for my discussion of the films of Luis Sandrini. More specifically, Sandrini’s films rely on the comedian’s stutter that literally disrupts the temporal continuum that film records. This chapter uses the stutter heuristically, figuring it within film texts, material film practice, spectatorial experience, and historiography. Radio sound aesthetics and sound technologies played an important role during the transition to sound, not only determining technological developments that affected film production, but also providing the material base for the nation’s nascent studios. Additionally, by focusing on Sandrini’s physical slapstick, this chapter discusses his films as staging a confrontation with standardized time both in terms of the reification of time in modernity and the standardization of film through the registration gate. Classical Hollywood may have aspired to a hermetic diegetic world, but Sandrini mocks classicism with a stutter that makes the world salient precisely because it acknowledges that the world “slips through our fingers.”
Keywords: Luis Sandrini, Argentine cinema, stutter, salience, temporality, sound studies
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