* omslag Between Stillness PB:DEF

tion. Thus, the tension between the static and the unfolding in thevisualdimen-
sion of this narrative slide motion film may, in temporal terms, be experienced
as a tension between the pastness of the static frame and the presence and be-
coming of the succession of images.
The auditory dimension of the narrative slide-motion film is often similar to
most mainstream films: The diegetic sound is continuously there, so we actually
hear the steps of a character coming down the stairs even if the visual presenta-
tion of the scene shows only two or three images, one from the top of the stair-
case, one from the middle, and maybe one at the bottom. Although the diegetic
sound inAño Uñais rather flimsy compared to both mainstream film and
other slide-motion films (likePhoto-Romans, which I will come back to later),
the relatively rich“whereness”of the dialogue and interior monologue inAño
Uñacontributes to the production of diegetic presence. The often unnoticed
muttering inLa Jetéesimilarly produces a certain impression of presence de-
spite the scarcity of sound in this film. Thesoundsof the diegetic universe in
other words create the impression of presence and the unfolding of events in
the narrative slide-motion films.

Fig..Año Uñapresents a large amount of inner monologues, normally signaled

by the content of the utterance and the social norms indicated by the narrative

situation. Screen shot, color film

Theextradiegeticcomponents of the slide-motion films also work with what the
audience expects: in most of them, music highlights the action and facilitates the
transitions between images.Año Uñacontains very little extradiegetic music,
but sometimes the diegetic music distracts viewers from the visual cut. More-

94 Liv Hausken