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Chapter 07
Sound in the Cinema
Multiple Choice Questions
2. Which of the following is NOT one of the three major perceptual properties of film sound?
A. Volume
B. Pitch
C. Timbre
D. Texture
Bloom’s: Remember
Learning Objective: Know how loudness factors into film sound
Learning Objective: Know how pitch factors into film sound
Learning Objective: Know how timbre factors into film sound
Topic: perceptual properties of sound
8. Sound that represents a character's thoughts without the character speaking aloud is called
A. mental sound.
B. internal diegetic sound.
C. cognitive sound.
D. off-screen sound.
Bloom’s: Remember
Learning Objective: Know that subjectivity is a resource of diegetic sound
Topic: film sound: space
10. Which of the following does NOT affect sound perspective in a theater space?
A. Timbre
B. Volume
C. Multichannel recording
D. Synchronization
Bloom’s: Understand
Learning Objective: Understand sound perspective in the theater space
Topic: perceptual properties of sound
14. In Michael Mann's The Last of the Mohicans, during the final combat scene,
A. traditional Magua tribal drumbeats punctuate the flying arrows.
B. the orchestral music is slow, deep, and foreboding to accentuate Magua fighters sneaking up on Chingachgook.
C. Scottish dance music synchronizes with visual rhythms.
D. there is no sound, only silence.
Bloom’s: Remember
Learning Objective: Understand how to connect sounds to images through rhythm
Topic: film sound: rhythm
17. In a modern film, how many separate tracks may be layered into the mix at any given moment?
A. One
B. A dozen or more
C. Hundreds
D. At least five
Bloom’s: Remember
Learning Objective: Understand how sounds get mixed
Topic: film sound: fidelity
21. In the scene when Virginia is on the beach in The Snake Pit, the crossing of internal and external diegetic sound borders
accomplishes what narrative goal?
A. It gives the viewer a better sense of the spatial dimensions of the mise-en-scene.
B. It gives the viewer access to the larger political context of the story.
C. It confuses the viewer in order to then reveal Virginia's mental state.
D. It provides the viewer with an intimate understanding of the protagonist's sexuality.
Bloom’s: Remember
Learning Objective: Know that subjectivity is a resource of diegetic sound
Topic: film sound: space
22. When the king puts on headphones in The King's Speech, what kind of sound do we hear?
A. Off-screen restricted sound
B. On-screen restricted sound
C. Off-screen voiceover
D. On-screen voiceover
Bloom’s: Remember
Learning Objective: Know that subjectivity is a resource of diegetic sound
Topic: film sound: space
23. How would you describe Casablanca's soundtrack compared to film soundtracks of today?
A. Empty
B. Linear
C. Full
D. Noisy
Bloom’s: Remember
Learning Objective: Understand layers and contrasts in sounds
Topic: sound decisions
25. Jackie Brown repeats the same scene three times, using ______ in each version.
A. three very similar nondiegetic soundtracks
B. restricted narration and varying sound tracks
C. identical sonic flashbacks
D. varying internal diegetic sound and voiceover narration
Bloom’s: Remember
Learning Objective: Understand how sound contributes to understanding of images
Topic: film sound: space
28. A category of film that typically uses sonic flashbacks intercut with diegetic synchronous sound is
A. animation.
B. trial films.
C. Westerns.
D. romantic comedies.
Bloom’s: Understand
Learning Objective: Understand how sound contributes to understanding of images
Topic: film sound: time
30. To aid in synchronization, the soundtracks of animated films are recorded after all the images are completed.
FALSE
Bloom’s: Remember
Learning Objective: Understand how to connect sounds to images through rhythm
Topic: film sound: rhythm
31. The final battle scene of Seven Samurai uses a dense mix of sound effects without music.
TRUE
Bloom’s: Remember
Learning Objective: Understand how to connect sounds to images through rhythm
Topic: sound decisions
32. Foley sound effects are the most common kind of nondiegetic sound.
FALSE
Bloom’s: Remember
Learning Objective: Understand layers and contrasts in sounds
Topic: film sound: space
33. The rhythm, melody, harmony, tempo, volume, and instrumentation of the music can all strongly affect a viewer's
emotional reactions.
TRUE
Bloom’s: Remember
Learning Objective: Understand the relationship between sound and film form
Topic: sound decisions
35. Volume, pitch, and timbre all contribute to the sonic texture of a film.
TRUE
Bloom’s: Remember
Learning Objective: Understand layers and contrasts in sounds
Topic: perceptual properties of sound
37. The loudness of sound in film can be measured precisely but is subjective for the listener.
TRUE
Bloom’s: Understand
Learning Objective: Know how loudness factors into film sound
Topic: perceptual properties of sound
38. Film sound can include any mixture of noise, music, and speech.
TRUE
Bloom’s: Remember
Learning Objective: Understand layers and contrasts in sounds
Topic: film sound: fidelity
40. The "Wilhelm" scream comes from a Foley sound library and has been used in only one full-length film, Psycho.
FALSE
Bloom’s: Remember
Learning Objective: Understand how sounds get mixed
Topic: sound decisions
42. Off-screen sound can provide a sense of how a scene will develop.
TRUE
Bloom’s: Understand
Learning Objective: Know that offscreen sound is a resource of diegetic sound
Topic: film sound: space
43. The use of subjective sound can parallel that of optical point-of-view.
TRUE
Bloom’s: Understand
Learning Objective: Analyze offscreen sound and optical point of view
Topic: film sound: space
46. An example of blending in The Exorcist is a single piercing scream repeated over and over again.
FALSE
Bloom’s: Understand
Learning Objective: Understand how sounds get mixed
Topic: sound decisions
Essay Questions
47. Describe what off-screen sound is and two major ways it can be used. Illustrate your answer with specific examples from
Film Art, the lectures, or any film seen for this class.
Answers will vary
Bloom’s: Remember
Learning Objective: Know that offscreen sound is a resource of diegetic sound
Topic: film sound: space
48. How does on-screen and off-screen sound work with optical point-of-view cutting to illuminate character perspective in
Quentin Tarantino's Jackie Brown?
Answers will vary
Bloom’s: Understand
Learning Objective: Analyze offscreen sound and optical point of view
Learning Objective: Understand the use of sound perspectives for point of view and expressiveness
Topic: film sound: space
Category # of Questions
Bloom's: Remember 36
Bloom's: Understand 12
Learning Objective: Analyze offscreen sound and optical point of view 2
Learning Objective: Analyze the editing of a dialogue 2
Learning Objective: Define diegetic sound 3
Learning Objective: Define nondiegetic sound 1
Learning Objective: Define sound bridge 2
Learning Objective: Define synchronous sound 1
Learning Objective: Know how loudness factors into film sound 2
Learning Objective: Know how pitch factors into film sound 2
Learning Objective: Know how timbre factors into film sound 1
Learning Objective: Know that offscreen sound is a resource of diegetic sound 4
Learning Objective: Know that subjectivity is a resource of diegetic sound 4
Learning Objective: Understand how sound contributes to understanding of images 4
Learning Objective: Understand how sounds get mixed 4
Learning Objective: Understand how sounds get recorded 2
Learning Objective: Understand how sounds gets altered 1
Learning Objective: Understand how to connect sounds to images through fidelity 2
Learning Objective: Understand how to connect sounds to images through rhythm 5
Learning Objective: Understand layers and contrasts in sounds 4
Learning Objective: Understand sound perspective in the theater space 2
Learning Objective: Understand that diegetic and nondiegetic sounds can be blurred 2
Learning Objective: Understand the relationship between sound and film form 2
Learning Objective: Understand the use of sound perspectives for point of view and expressiveness 1
Topic: film sound: fidelity 7
Topic: film sound: rhythm 4
Topic: film sound: space 17
Topic: film sound: time 5
Topic: perceptual properties of sound 8
Topic: sound decisions 8
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endured by its members reads like a romance. They reached the
mouth of the Coppermine, and then launched their little barks on the
chill waters of the Polar Sea. With much perseverance, and after
encountering some serious obstacles, they made their way along its
shores in a westerly direction as far as Point Turnagain, in lat. 68°
30’ N. Between this headland on the east, and Cape Barrow on the
west, opens a deep gulf, stretching inland as far as the Arctic Circle,
Franklin named it George the Fourth’s Coronation Gulf; and
describes it as studded with numerous islands, and indented with
sounds affording excellent harbours, all of them supplied with small
rivers of fresh water, abounding with salmon, trout, and other fish.
All the sledge-parties were now once more aboard the brig, and
the season of Arctic travel had ended. The short summer was rapidly
wearing away, and yet the ice remained a rigid and impenetrable
barrier. It was evident that the ship could not be liberated, and Kane
found himself compelled to decide between two equally dismal
alternatives,—the abandonment of the ship, or another winter among
the Polar snows. For himself, he resolved to remain; but to those
who were willing to venture on the attempt to reach the Danish
settlement at Upernavik, he left the choice open. Out of the
seventeen survivors of the party, eight, like Dr. Kane, decided to
stand by the brig; the others, to push southward to Upernavik. These
were provided with all the provisions and appliances that could be
spared, and took their departure on Monday, August 28th; carrying
with them a written assurance of a brother’s welcome should they be
driven back—an assurance amply redeemed when severe trials had
prepared them to share again the fortunes of their commander.
Dr. Kane confronted the winter with equal sagacity and
resolution. He had carefully studied the Eskimos, and concluded that
their form of habitation and peculiarities of diet, without their unthrift
and filth, were the safest that could be adopted. He turned the brig,
therefore, into a kind of igloë, or hut. The quarter-deck was well
padded with moss and turf, and the cabin below, a space some
eighteen feet square, was enclosed and packed from floor to ceiling
with inner walls of the same material. The floor itself was carefully
calked with plaster of Paris and common paste, and covered two
inches deep with Manilla oakum and a canvas carpet. The entrance
was from the hold by a low, moss-lined tunnel, the tossut of the
native huts, with as many doors and curtains to close it up as
ingenuity could devise. This was their sitting-room, dining-room,
sleeping-room; but there were only ten of them, and the closer the
warmer.
DR. KANE PAYING A VISIT TO AN ESKIMO HUT AT ETAH.
While they were engaged in these defences against the enemy,
they contrived to open up a friendly intercourse with the Eskimos,
visiting them in their snow-huts at the settlements of Etah and
Anatoak, distant about thirty and seventy miles from the brig; and, in
return for presents of needles, pins, and knives, they undertook to
show the white strangers where game was to be procured, as well
as to furnish walrus and fresh seal meat. The assistance rendered
by the Eskimos was of the greatest value, and we may infer that,
without it, Dr. Kane and his followers must have succumbed to the
hardships of that dreadful winter.