I am beginning to realize that the best possible way to identify with the nuances of film language is through the process of editing. Having scripted, directed and edited my films, I have come to that understanding evidently .What one understands of the relationship between one shot to another or what is that invisible thought that can be made to stand out.
It is the silent noise that you wiggle out from the present exception of the ordinary. Then you have a sound that is strangely discordant to its context, and yet it could visually transport you elsewhere.
Whether its visual imagery or sound, the unintentional suddenly emerges . So it is possible to listen to human sounds, of people bustling out of a club, the subtle clink of cutlery, chairs dragging against the floor, a shutter banging to a close and footsteps fading away into the distance at the end of a track and you are visually transported into that scenario, by receiving those noise elements.
This then only gets better. Discordantly shot footage can consist of immense latent material and perfect shots can be affected to meet the essential context or play a parallel.