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(2) Synchronized natural sound makes its appeal to the Treason; its effect on the emotions is incidental. Its main use is to help on the action ; it has largely taken over the functions of the sub-title in the silent film. Being ipso facto tied to the visuals, its value is dependent on them: it does not, as music does, add anything which is not inherent in them, but only amplifies and explains them. Its effect is particularly satisfying in the case of marked rhythmic movements which obviously produce a noise, such as hammering; the audience, having made its necessary effort of make-believe that the sounds are actually produced by the shadows on the screen, feels disturbed if its expectations are disappointed. Similarly, if the facial movements of speech are prominent on the screen, the audience is justified in its desire to hear the words spoken, and will feel irritated if those words are not in perfect synchronization. It is not, of course, by any means necessary that the actual sound made at the time the picture was shot should be used. In post-synchronizing a film it is often found that a particular noise is more satisfactory when reproduced artificially in the studio. In this field the microphone has been far more exploited than in music.
(3) The use of natural sound in counterpoint is a new device, and the most important development since the coming of the sound-film. It makes a special demand on the audience's power of concentration, in that they must be ready to listen to given sounds as bound up with, and yet separate from, the picture. It is, in fact, an appeal to the emotions through the reason. Its use is similar to that of music, whose appeal to the emotions is direct; but the value of the sounds, instead of being intrinsic as in music, is allusive. The sense of the sounds is related to the sense of the picture, and a specific emotion results. This use of sound is not a mere stunt ; it is essential to the further development of the sound-film, a step towards a new and far more expressive form of film art. When sound has achieved its proper freedom, the film will be justified in claiming the place once held by opera.
(4) The use of sound effects, not allusively, but so to speak musically, for directly emotional purposes, follows as the next step after the contrapuntal use of natural sound. The possibilities in this field are as yet unexplored, but it is clear that since the vocabulary of the sound-composer comprises all the known sounds that it is possible to record, there is nothing to prevent his orchestrating other than purely musical sounds to produce certain effects. Since Satie employed the typewriter in Parade there have been several instances of non-musical noises combined rhythmically with music, and in films the noise of a train as a percussion basis to music, and the Hans Sachs method of hammering as in Man of Aran, are fairly familiar. But the more subtle use of noises for their own sake, to
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