Abstract: Daniel Deshays coined a term to designate the "state of a sounding body": the sonance. This neologism intends to account for the "space-time of sound production". Our hypothesis is that cinematography, which in essence combines temporalities, via spatialities, would reveal a re-sonance, a resonance. To test this proposal, we will examine a film which Daniel Deshays partly conceived the sound matter: The Journey to Lyon by Claudia von Alemann.
