Here in Brazil, it is by means of magazines on cinema that the quarrel happened. As it points Fernando Moral of the Coast in its thesis ' ' The Sound in the Brasileiro&#039 Cinema; ' , in as the number of the magazine the Fan, Octvio de Faria goes to say: ' ' The cinema is the art of the black person and white. Dumb art. Art dynamics. Visual art.

It does not admit colorful? of the real life. It does not admit the word? of the theater. I sing it does not admit it? of pera.' ' It will still say, in the same article: ' ' in a word, the said film is an error. () it is the enemy greater that the cinema already had until hoje' '. It will say that the word brings indesejada ' ' approach with the theater.

The return to teatralidade' ' (The Fan, N. 2, October of 1928, p.3). The vision of the young critics of the magazine the Fan was reflected of the one of its dolo, Charlie Chaplin, that was an arduous opponent of the said cinema. Whereas all the studios of Hollywood had run in direction to the technological newness that attracted multitudes to the rooms, of Chaplin if it kept fervorosamente in the production of dumb films (it would only start to make cinema said with the accomplishment of the great dictator in 1940, thirteen years after the advent of the sonorous one). There nacin said Chaplin on the cinema said in an interview to the Argentine periodical: ' ' The voice breaches the fancy, the poetry, the beauty of the cinema and of its personages. The cinema personages are beings of illusion, and its nature drift necessarily of silence where they live. You imagine any of the actresses who we know speaking in the screen. How disaster, my God! The actresses do not have to speak, must be beautiful, nothing more are to silence the mouth.