Abstract

The paper presents the donkey's bray in Robert Bresson's film (F 1966) that disturbs the montage insistently as an open sound object and puts it in the context of bioacoustics. The donkey's hee-haw diversifies noise in such a way that the borderline between object and creature becomes permeable. Bresson's passion proves to be an experiment to perceive the acoustic channels of communication as transformers of animals, spaces and that kind of transmission that researchers informed by cybernetics call »language«.