Frampton's film Nostalgia (1971) inspired my film. From the analysis of the structure of the film itself, the setting of Nostalgia is elementary, with photos, burning, and commentary. Any film that comprehensively utilizes the representation of the situations in the audio and images strongly influences the audience. The inconsistency remains across the film where the sound lags by one photograph and the voices pause, overlapping with the burning photos. The viewers must think back to the introduction section to understand the film's progress. The inconsistency created in the cinema achieves certain features that make the film distinctive and create a film experience that the audience might not expect.
The consistency of the variation between vision and sound builds a false sense of precision and rhythm, creating a feeling that masks the contradictions between what appears on the screen and what is heard from the soundtrack. In relation to the contradiction caused by the voice and image imbalance in the film, most of the audience, particularly those with less interaction with such films, find it challenging to relate between what is said and what appears on the screen. Therefore, this feature where the images do not coincide with the sound results in a lack of rhythm hence contradicting the audience.
In the theoretical construction of the experimental film, I refer to the theory of Dadaism. From Kuenzli (1996)'s theory, he explains the exploration and questioning of the essence of Dadaism. Dadaism is not a school of art; it is a tool, a pure tool to reflect on the nature of art. Therefore, I choose to reflect on the logical relationship between pictures and sounds. I refer to the film form of Anémic cinema (Marcel Duchamp, 1926). As a Dadaist film, the key objective is not to lure the viewers into a cinematic illusion; instead, it employs unconventional approaches to alienate the audience and provide something over which the audience thinks about the production. Even though the views are thrown into cinematic illusion at first, the distortion is only used as an unorthodox method to make the viewers reflect on the relationship between the images and sound. Regardless of the fact that the images and the sound do not appear simultaneously, it is just a strategy that intends to make the audience think deeper about the images and relate them to what they hear.