of static shots. Print does likewise while pretending to deal with the whole mind in action. Yet film and the stream of consciousness alike seemed to provide a deeply desired release from the mechanical world of increasing standardization and uniformity Nobody ever felt oppressed by the monotony or uniformity of the Chaplin ballet or by the monotonous, uniform musings of his literary twin, Leopold Bloom. In 1911 Henri Bergson in Creative Evolution created a sensation by associating the thought process with the form of the movie. Just at the extreme point of mechanization represented by the factory, the film, and the press, men seemed by the stream of consciousness, or interior film to obtain release into a world of spontaneity, of dreams, and of unique personal experience. Dickens perhaps began it all with his Mr. Jingle in Pickwick Papers. Certainly in David Copperfield he made a great technical discovery, since for the first time the world unfolds realistically through the use of the eyes of a growing child as camera. Here was the stream of consciousness, perhaps, in its original form before it was adopted by Proust and Joyce and Eliot. It indicates how the enrichment of human experience can occur unexpectedly with the crossing and interplay of the life of media forms. The film imports of all nations, especially those from the United States, are very popular in Thailand, thanks in part to a deft Thai technique for getting round the foreign-language obstacle. In Bangkok, in place of subtitles, they use what is called "Adam-and-Eving." This takes the form of live Thai dialogue read through a loudspeaker by Thai actors concealed from the audience. Split-second timing and great endurance enable these actors to demand more than the best-paid movie stars of Thailand. Everyone has at some time wished he were equipped with his own sound system during a movie performance, in order to make appropriate comments. In Thailand, one might achieve great heights of interpretive interpolation during the inane exchanges of great stars.
Understanding Media by Marshall McLuhan Page 326 Page 328