The first sound films appeared four years after The Jazz Singer. They already had episodes with highly artistic use of sound ("The Encounter", "A Trip to Life"). However, in the film of the same time, "A Simple Case" showed the maximalism of one of the authors of the declaration. And this lopsided use of Transcriberry and the editing of sound into textual format has become particularly evident decades later. Sound cannot be included in a screen work only according to the principle of counterpoint, because such an approach would come into conflict with the realism, the truthfulness of the transmission of events.

Today we do not deny the right of synchronous pieces of a speaking person in the context of works, but at the same time we remember that constructing a story only on dialogues, replicas and text (on verbal material) scopes out the artistic and expressive possibilities of screen works, leads to the destruction of their natural nature. A talking person is acceptable only in limited quantities and proportions next to pieces full of plastic images and accompanied by music or noise. The incessant "talking heads" on television, for example, tire the viewer, reducing his interest in the message and, consequently, his perceptual activity.

In his later work than "The Application of Sound Film," in the article "Vertical Editing," he wrote that the arrival of sound on the screen in terms of editing does not change anything. The principle of juxtaposing the two pieces, the plastic and the sound, should also lead to the birth of a certain third with new qualities in relation to the composed elements.

Only the juxtaposition is no longer along one line (image + image), but in two directions: horizontally (the successive montage of image and successive montage of sound), but also vertically (the montage of visual images with sound images). In this case the use of counterpoint can lead to the highest creative results. The question has arisen: how to evaluate the arrival of sound in cinema? Some theorists and directors thought that the jump from silent cinema to screaming cinema could be compared to the transition from puppet theater to theater. In such a statement was partly true. It is no accident Chaplin predicted the death of high art pantomime with the approval of speaking films on the screens. Which is exactly what happened.

There were those who dared to call the advent of sound - a revolution in cinema. And in this, too, there was some truth. Sound swept over the silent cinema like barbarian hordes of horses, trampling its refined aesthetics, its nature and its essence with its loud hooves. All artists had to retrain, to master new principles of a more complex method of revealing content on the screen and conveying the author's thoughts.