An Introduction to Film Sound    

    Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound. A meaningful sound track is often as complicated as the image on the screen, and is ultimately just as much the responsibility of the director. The entire sound track consists of three essential ingredients: the human voice, sound effects and music. These three tracks must be mixed and balanced so as to produce the necessary emphases which in turn create desired effects. Topics which essentially refer to the three previously mentioned tracks are discussed below. They include dialogue, synchronous and asynchronous sound effects, and music.

    Let us start with dialogue. As is the case with stage drama, dialogue serves to tell the story and expresses feelings and motivations of characters as well. Often with film characterization the audience perceives little or no difference between the character and the actor. Thus, for example, the actor Humphrey Bogart is the character Sam Spade; film personality and life personality seem to merge. Perhaps this is because the very texture of a performer’s voice supplies an element of character.

    When voice textures fit the performer’s physiognomy and gestures, a whole and very realistic persona emerges. The viewer sees not an actor working at his craft, but another human being struggling with life. It is interesting to note that how dialogue is used and the very amount of dialogue used varies widely among films. For example, in the highly successful science-fiction film 2001, little dialogue was evident, and most of it was banal and of little intrinsic interest. In this way the film-maker was able to portray what Thomas Sobochack and Vivian Sobochack call, in An Introduction to Film, the ‘inadequacy of human responses when compared with the magnificent technology created by man and the visual beauties of the universe’.

    The comedy Bringing Up Baby, on the other hand, presents practically non-stop dialogue delivered at breakneck speed. This use of dialogue underscores not only the dizzy quality of the character played by Katherine Hepburn, but also the absurdity of the film itself and thus its humor. The audience is bounced from gag to gag and conversation to conversation; there is no time for audience reflection. The audience is caught up in a whirlwind of activity in simply managing to follow the plot. This film presents pure escapism -largely due to its frenetic dialogue.

    Synchronous sound effects are those sounds which are synchronized or matched with what is viewed. For example, if the film portrays a character playing the piano, the sounds of the piano are projected. Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere. For example, the ‘click’ of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience may only subconsciously note the expected sound. However, if the ‘click’ of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the ‘click’ with an increase in volume; this helps to engage the audience in a moment of suspense.

    Asynchronous sound effects, on the other hand, are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of the film. For example, a film-maker might opt to include the background sound of an ambulance’s siren while the foreground sound and image portrays an arguing couple. The asynchronous ambulance siren underscores the psychic injury incurred in the argument; at the same time the noise of the siren adds to the realism of the film by acknowledging the film’s city setting.

    We are probably all familiar with background music in films, which has become so ubiquitous as to be noticeable in its absence. We are aware that it is used to add emotion and rhythm. Usually not meant to be noticeable, it often provides a tone or an emotional attitude toward the story and/or the characters depicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster.

    Background music may aid viewer understanding by linking scenes. For example, a particular musical theme associated with an individual character or situation may be repeated at various points in a film in order to remind the audience of salient motifs or ideas.

    Film sound comprises conventions and innovations. We have come to expect an acceleration of music during car chases and creaky doors in horror films. Yet, it is important to note as well that sound is often brilliantly conceived. The effects of sound are often largely subtle and often are noted by only our subconscious minds. We need to foster an awareness of film sound as well as film space so as to truly appreciate an art form that sprang to life during the twentieth century - the modern film.

1.In the first paragraph, the writer makes a point that ________

A the director should plan the sound track at an early stage in filming.

B it would be wrong to overlook the contribution of sound to the artistry of films.

C the music industry can have a beneficial influence on sound in film.

D it is important for those working on the sound in a film to have sole responsibility for it.

解析：选B。B 段落大意题。A 导演应该在拍摄的早期阶段就计划好电影原声（原文：规划音效也应该是导演的职责所在）；C 音乐产业可以对电影中的声音产生有益影（未提及）；D 负责电影中声音的工作人员应该对音效担负起完全的责任来，这很重要（原文：统筹音效和关注画面质量同样都是导演的应有之责）。故选B。

2.One reason that the writer refers to Humphrey Bogart is to exemplify ________

A the importance of the actor and the character appearing to have similar personalities.

B the audience’s wish that actors are visually appropriate for their roles.

C the value of the actor having had similar feelings to the character.

D the audience’s preference for dialogue to be as authentic as possible.

解析：选A。A 细节理解题。根据“Humphrey Bogart”定位到第二段，根据第三、四句“Often with film characterization the audience perceives little ...”结合选项：B 观众希望演员在视觉上适合他们所扮演的角色（原文：着眼点在于性格特征）；C项未被提及；D 观众更倾向于对话要尽可能显得真实（原文：并有明确说到它必须像真的）。故选A。

3.In the third paragraph, the writer suggests that ________

A audiences are likely to be critical of film dialogue that does not reflect their own experience.

B film dialogue that appears to be dull may have a specific purpose.

C filmmakers vary considerably in the skill with which they handle dialogue.

D the most successful films are those with dialogue of a high quality.

解析：选B。B 推理判断题。根据第二段内容可推知，作者想指出看似平淡乏味的电影对话其实可能是服务于某个特定目的。A未提及；C 电影制作者在如何处话的技巧上彼此有着极大的差別（原文：不同电影中对话的用法和用量有很大差別，未明确说是电影制作者使用技巧的差別）；D 无中生有。故选B。

4.What does the writer suggest about Bringing Up Baby?

A The plot suffers from the filmmaker’s wish to focus on humorous dialogue.

B The dialogue helps to make it one of the best comedy films ever produced.

C There is a mismatch between the speed of the dialogue and the speed of actions.

D The nature of the dialogue emphasises key elements of the film.

解析：选D。D 推理判断题。根据Bringing Up Baby定位到第四段，作者提到该电影故意使用又快又滑稽的对话形式来突出影片的荒诞风格。故D项（对话的性质强化了影片中的关键元素）符合文意。A/B/C均未提及。故选D。

5.The writer refers to the ‘click’ of a door to make the point that realistic sounds ________

A are often used to give the audience a false impression of events in the film.

B may be interpreted in different ways by different members of the audience.

C may be modified in order to manipulate the audience's response to the film.

D tend to be more significant in films presenting realistic situations.

解析：选C。C 推理判断题。根据‘click’ of a door定位到第五段，根据“Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere.”可知，作者用推门的“咔嗒”声来做例子，是为了说明该声音是为了提升电影的真实感，即模拟真实情况的声音。A/B/D未提及。故选C。