We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
THE FILMIC COMPONENTS 151
mechanical device or living thing that emits a high, piping shriek or sound.
Exterior scenes can be connected with adjacent interior scenes by the use of street noises, heard in volume over the exterior scene and then, in the succeeding interior scene, heard with diminished volume, the exact volume depending on whether the windows are open or closed.
Sound and visual transitions. Sound can also be used in connection with visual transitions. A dock scene, for example, could be enhanced with the sounds of distant ship sirens and buoys laid into the background of the introductory scene, and then carried behind succeeding shots, to connect them up. Ruttman's first use of the varied Hamburg dockside sounds, at the opening of his experimental The Melody of the World, made for immediate audience identification. In the same director's The Sounding Wave, he introduced the blare of trumpets and the boom of drums at various intervals in the picture, and even as a background sound, in order to give the picture the flow of continuity.
Ford, in his The Informer, used the sound of the tap-tap-tap of the blind beggar's cane as a transitional device, even when the beggar was not seen. James Joyce's blind beggar's cane tap-tapping through his book Ulysses may have been Ford's inspiration.
Letter transitions. Still another sight-sound transition can be effected when a letter is being read by a character. After holding for a while on him as he starts to read his letter, the voice of the person who wrote the letter is superimposed, reading the letter he has written. This is followed by a dissolve to that person, usually in a close-up, as he gives voice to the written words.
A variation starts with the person writing the letter, cuts to an extreme close-up of the letter, superimposes the voice of the person receiving the letter, and then dissolves through to the person who has received it, reading it.
Simple deviceless transitions. Finally, scene transitions can be effected without the use of any definite device, with a simple dissolve that uses neither the matched visual elements nor the matched sound elements.