As with most instances of productive dialogue, both traditions are enhanced by this kind of exchange, as am I and those I am in conversation with.
Take, for instance, this slice of dialogue from a 1962 episode called "Aren't You Surprised to See Me?" A religious nut takes Buz hostage in Dallas and threatens to kill him if the city's population fails to follow the Ten Commandments for the next 24 hours.
It's the first of many instances of often adversarial dialogue that also struck me as off, out of keeping with the subdued energy of a studio and the deference you'd expect in this relationship, especially as it begins.
There are countless instances of obvious ADR dialogue which state obvious points ('It worked!' or 'We need to get out of here!'), and climactic voice over makes a point to explicitly spell out the moral of the story.
In this instance, a random line of dialogue, which it turns out was the result of a nudge on social media, triggers latent racial resentment in a slow burn.
In some instances, the characters speak key portions of dialogue from key scenes.
Devices that shouldn't work – conveying lengthy, quasi documentary-style accounts of war through a dream, for instance, or even the dreaded long chunks of dialogue in a kind of foreign speak – work perfectly.
"One result of this absence of dialogue is that in several key instances this statement radically misinterprets what I think, and what I in fact wrote," she said.
Some saw the possibility of dialogue -- Ram Mohan Roy's reformed Hinduism, for instance, was influenced by the example of Jesus -- but the dialogue tended to be one-sided.
Even the use of dialogue was stylised.
