The soundtrack of Discrepancy, read by the computer voice “Alex,” is adapted from the film Traité de bave et d’éternité (1951) by Isidore Isou. The film is Isou’s manifesto of cinéma discrepant. The fundamental principle of “discrepant cinema” is a disregard of the image in order to privilege written narration. There is no attempt to illustrate the text. The relation of sound and image can—indeed, should—be as arbitrary and opaque as possible. Furthermore, the images are often “chiseled,” i. e., scratched, dirtied, splattered with ink and distressed beyond recognition. Isou engaged in a perverse iconoclasm in a medium conventionally understood to be primarily visual. In his manifesto, he argued that he did violence to the image in order to renew the film medium. He also asserted that “any novelist can make a film without spending a penny.”

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