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Adieu Philippine and Rozier's alternative sound practice

ABSTRACT Adieu Philippine (1962) provides an important test case for sound-to-image relations within French New Wave cinema. The casual mise-en-scène and editing create a strong sense of spontaneity, while the dialogue is full of everyday slang, spoken in natural rhythms. Yet, because the original sound recording proved unusable, Rozier became a sort of archeologist, reconstructing his own soundtrack artificially in the studio. A significant tension results between the image and sounds, and Rozier's film proves to be one of the New Wave's most striking studies of the material nature of cinematic practice.