It still calls the attention for the limitation that imposes the written language, for its static form to generate meanings, in relation to the dynamism of the verbal language. With the advent, in the Average Age, of the word printed, Gutemberg, and the instauration of the perspective in the painting, attributed the Van Eyck, in Holland, McLuhan goes to say that, from the Average Age, ' ' the sound loses very in importance in the Europe Ocidental' ' (in COAST, the insertion of the sound in the cinema, p.5). ' ' From then on? to see is to believe? , while in other cultures the ear continued to be the main agency of recepo' ' (they idem). Of this ' ' culture of viso' ' established in the world occidental person, had appeared diverse on attempts of entertainment to the image, as the magical lantern, the dark camera? These devices are in the origin of the invention of the photograph and, subsequently, the cinema. It is understandable, then, that the general vision that if had of the cinema, in its primrdios, was atrelada directly to the image and that some denied the participation of the sound in its process. This does not deny the comment of Altman when it says that it was in the fight against the teatralidade that the image left preponderant to the light of the theoreticians of the time, only corroborates for the understanding of situation where everything this if gave.
The image, in first the thirty years of the cinema, dominated the scene, relegating to the sonorous accompaniment a lesser function of what ' ' attraction principal' '. When it was obtained to imbutir sound to the images, was all the paradigm of the cinema, in its form and content, that was broken. To accept this change if disclosed a laborious process for many, that saw the old model of its passion to pull down.