Watch this scene from Night of the Living Dead, and read the reading below, then answer the questions.

Link to clip- https://www.youtube.com/watch?v=zeTJU_L8x3M

Reading-

The Powers of Sound Sound is a powerful film technique for several reasons. For one thing, it engages a distinct sense mode. Even before recorded sound was introduced in 1926, silent films were accompanied by orchestra, organ, or piano. At a minimum, the music filled in the silence and gave the spectator a more complete experience. More significantly, the engagement of hearing opens the possibility of what the Soviet director Sergei Eisenstein called "synchronization of senses"-making a single rhythm or expressive quality bind together image and sound. The meshing of image and sound appeals to something quite deep in human consciousness. Babies spontaneously connect sounds with what they see. For us, if a sound and image occur at the same moment, they tend to be perceived as one event, not two. Just as our minds search for patterns in a shot or for causal patterns in a narrative, we're inclined to seek out patterns that will fuse lip movements and speech. The power of musical structure to map onto visual structure is evident not only in dance but also when fans of the Pink Floyd album The Dark Side of the Moon play it back over The Wizard of Oz. Our bias toward audio-visual blending governs both our everyday activities and our experiences of arts like music, theater, and film.Loudness The sounds we hear result from vibrations in the air. The amplitude, or breadth, of the vibrations produces our sense of loudness, or volume. Filmmakers manipulate volume constantly. A long shot of a busy street is accompanied by traffic noises, but when two people meet and start to speak, the loudness of the traffic diminishes ( ( 7.12). A conversation between a Page 268 soft-spoken character and a blustery one is characterized as much by volume as by what they say. Much of the comedy in Mel Brooks's The Producers comes from the contrast between the voices of booming Max Bialystock and meek accountant Leo Bloom.Recording Dialogue is usually recorded during filming, but that isn't the version we will hear in the finished film. The dialogue in the film has been dubbed, or "looped," later in a recording studio. In a process called automated dialogue Page 271 recording (ADR), actors repeat their lines while watching the footage in "looped playback." The dialogue recorded during shooting guides the ADR process. "We're always looking for things that squeak or clank or make springy, sproingy noises. If you go to a swap meet or garage sale, you're always putting your ear up to things and listening. The weirdest thing is when you listen to things in the grocery store-tap on vegetables and rustle them and crunch them a little." -Marnie Moore, Foley artist, Boogie Nights, Jarhead Music is almost never recorded during principal photography, unless the filmmaker is documenting a musical performance, as in concert films like Stop Making Sense, U2 3D, and Year of the Horse. Much more often, music is added in postproduction. The track might be a selection of existing pieces, such as popular songs, or it might be a score written specifically for the film. Recording a score involves the composer, sometimes aided by a conductor, leading the musicians through each cue while watching the footage projected on a screen. Like music, most sound effects are added during postproduction. A common method is the Foley process, which creates noises tailored to each scene. In a sonically clean studio, experts record people pouring drinks, splashing in mud,Suddenly distant horses' hooves are heard oiTscreen. This triggers the expectation that we will soon see the attackers. Kurosawa cuts to a long shot of the bandits; their horses' hooves become abruptly louder. (The scene employs Fageff? vividisound pe_rspective; The closer the camera is to a source, the louder the sound.) When the handits burst into the village, yet another sound element appearsthe bandits' harsh war cries, which increase steadily in volume as they approach. The battle begins. The rhythmic cutting and the muddy, storm-swept miscenscene gain impact from the way in which the incessant rain and splashing are explosively interrupted by brief noisesthe howls of the wounded, the splintering 01 a fence one bandit crashes through. the whinnies of horses, the twang of a samurai's bowstring. the gurgle of a speared bandit, the screams of women when the bandit chieftain hreahs into their hiding place. The sudden intrusion of certain sounds marks abrupt developments in the battle, standing out against the pounding rain. Such frequent surprises heighten our tension, as the narration rapidly snaps us from one line of action to another. |Rhythm involves, minimally, a beat, or pulse; a tempo, or pace; and a pattern of accents, or stronger and weaker beats. In the realm of sound, all of these features are naturally most recognizable in lm music, because there beat, tempo, and accent are basic compositional features. In our examples from Jules and Jim, the motifs can be characterized as having a 3M metrical pulse. putting an accent on the rst beat, and displaying variable temposometimes slow, sometimes fast. We can nd rhythmic qualities in sound effects as well. The plodding hooves of a farm horse differ from a cavalry mount galloping at full speed. The reverberating tone of a gong may offer a slowly decaying accent, while a sudden sneeze provides a brief one. In a gangster lm, a machine gun's re creates a regular, rapid beat, while the sporadic reports of pistols may come at irregular intervals. Speech also has rhythm. People can be identied by voice prints that show not only characteristic frequencies and amplitudes but also distinct patterns of pacing and syllabic stress. In His Girl Friday, our impression is of very rapid dialogue, but the scenes actually are rhythmically subtler than that.| In the start of each scene. the pace is page 232 Fidelity By fidelity, we don't mean the quality of recording. In our sense, fidelity refers to the extent to which the sound is faithful to the source as we conceive it. If a film shows us a barking dog and we hear a barking noise, that sound is faithful to its source; the sound maintains fidelity. But if the image of the barking dog is accompanied by the sound of a cat meowing, there enters a disparity between sound and image-a lack of fidelity. From the filmmaker's standpoint, fidelity has nothing to do with what originally made the sound in production. Even if our dog emits a bark onscreen, perhaps in production the bark came from a different dog or was electronically synthesized. We do not know what light sabers really sound like, but we accept the whang they make in Return of the Jedi as plausible. (In production, their sound was made by hammering guy wires that anchored a radio tower.) You can make a dog meow as easily as making it bark. If the viewer takes the sound to be coming from its source in the diegetic world of the film, then it is faithful, regardless of its actual source in production. Fidelity is thus purely a matter of expectation.Diegetic Versus Nondiegetic Sound When we considered narrative form back in Chapter 3. we described events taking place in the story world as diegeric (p. 76).According1y. gagetic sound is sound that has a source in the story world. The words spoken by the characters. sounds made by objects in the story, and music represented as coming from instruments in the story space are all diegetic sound. Diegetic sound is often hard to notice as such. It may seem to come naturally from the world of the lm. But as we saw when the Ping-Pong game in Mr: Huiof's Holiday becomes abruptly quiet to allow us to hear action in the foreground, the lmmaker may manipulate diegetic sound in ways that aren't at all realistic. Alternatively. there is nondiegetic sound. which is represented as coming from a source outside the story world. Music added to enhance the lm's action is the most common type of nondiegetic sound. When Roger Thornhill is climbing Mount Rushmore in North 5y Northwest and tense music comes up. we don't expect to see an orchestra perched on the side of the mountain. Viewers understand that movie music is a convention and does not issue from the world of the story. The same holds true for the socalled omniscient narrator. the disembodied voice that gives us information but doesn't belong to any of the characters in the lm. An example is The Magnicent Ambersons, in which the director. Orson Welles, speaks the nondiegetic narration. Nondiegetic sound effects are also possible. In Le Million, various characters pursue an old coat with a winning lottery ticket in the pocket. The chase converges backstage at the opera, where the characters race and dodge around one another, tossing the coat to their accomplices. What we hear, however, are the sounds of a football game, including a cheering crowd and a referee's whistle ( 7.40). Nondiegetic sound effects have become common in contemporary Hollywood. Whooshing sounds are synchronized with rapid camera movements. In Tony Scott's remake of The Taking of Pelham 123, after the ransom has been gathered at the Brooklyn Federal Reserve, a nondiegetic whoosh accompanies a rapid zoom out to a satellite view showing the money's destination in midtown Manhattan. Similarly, nondiegetic "needle scratches," imitating a phonograph needle scraping across an LP record, are used for comic effect. A film's soundtrack can be completely nondiegetic. Bruce Conner's A Movie, Kenneth Anger's Scorpio Rising, and Derek Jarman's War Requiem use only nondiegetic music. Similarly, many compilation documentaries include no diegetic sound; instead, omniscient voice-over commentary and orchestral music guide our response to the images. As with fidelity, the distinction between diegetic and nondiegetic sound reflects the conventions of film viewing. Viewers understand that certain sounds seem to come from the story world, while others come from outside the space of the story events. We've learned these conventions so thoroughly that we usually don't have to think about which type of sound we're hearing at any moment. At many times, though, a film's narration deliberately blurs boundaries between different spatial categories. A play with the conventions can be used to puzzle or surprise the audience, to create humor or ambiguity, or to suggest thematic implications. We'll give some examples shortly.Offscreen sound is crucial to our experience of a film, and filmmakers know that it can save time and money. A shot may show only a couple sitting together in airplane seats, but if we hear a throbbing engine, other passengers chatting, and the creak of a beverage cart, we'll conjure up a plane in flight. Offscreen sound can create the illusion of a bigger space than we actually see, as in the cavernous prison sequences of The Silence of the Lambs. As with our creaking-door example (p. 265), offscreen sounds can shape our expectations of how a scene will develop ( 7.41- 7.43).Nondiegetic Sound Most nondiegetic sound has no relevant temporal relationship to the story. When mood music comes up over a tense scene, it would be irrelevant to ask if it is happening at the same time as the images because the music has no existence in the world of the action. But occasionally, the filmmaker uses nondiegetic sound that does have a defined temporal relationship to the story. Welles's narration in The Magnificent Ambersons, for instance, speaks of the action as having happened in a long-vanished era of American history.Timbre The harmonic components of sound give it a certain color, or tone qualitywhat musicians call timbre. When we call someone's voice nasal or a musical tone mellow, we're referring to timbre. Timbre is actually a less fundamental acoustic parameter than amplitude or frequency, but it's indispensable in describing the texture or \"feel\" of a sound. In everyday life, the recognition of a familiar sound is largely a matter of various aspects of timbre. page 2m Filmmakers rely on timbre constantly. An actor's voiceSean Connery's gruff Scots accent, Tom Waits's plaintive rasp becomes distinctive, thanks to timbre. For Disney's Beauty and the Beast. Robbie Benson's speaking voice was mixed with tiger and lion sounds to enhance the Beast's animalistic side. Timbre, along with pitch, distinguishes musical instruments from each other and often enhances emotion, as when sultry saxophone music comes up during a seduction scene