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.
SOUND DISSOLVE S 217
cuss them here. What concerns us is only the part sound montage may play in film dramaturgy.
For instance, the similarity of certain sounds may invite comparisons and evoke associations of ideas. In the film about Strauss, The Great Waltz, the rhythmic tap-tap of a trotting cab-horse evokes the rhythm of the waltz, to which the matutinal sounds of the Wienerwald provide the melody. In one of Ermler's films the rattle of a sewing-machine evokes in the mind of a soldier who has lost his memory the rattle of a machine-gun and thereby conjures up the whole forgotten past.
The linking of juxtaposed sub-contrasts may be more effective than the cutting together of visual contrasts. A thousand expressive effects can be produced merely by cross-cutting the sounds of sobs and laughter, groans and dance music, etc.
Silence, as a sequel to sound, may also appear as an acoustic effect in sound montage. The reason for this is that sound does not disappear from our consciousness as quickly as a vanished visual picture. It echoes in our ear for some time, thus mutely counterpointing the subsequent pictures. After a sequence of hot dance music the stillness of a sick-room affects us differently than if the preceding picture, too, had been a quiet one. Sounds which, as the saying goes, 'still resound in our ears', may deepen and interpret the silence that follows them.
SOUND DISSOLVES
The similarity of sounds renders possible the making of sound dissolves similar to picture dissolves. This is not merely a formal linkage — it may provide an essential, interpreting connection between two scenes. If the shouts 'Down tools!' 'All out!' dissolve into the rousing roar of the factory siren, the effect will be metaphoric; the siren will seem to us the angry voice of the factory. Such dissolves can become similes : if the tapping of a Morse key at the headquarters of an army in the field first grows louder, and then dissolves into the rattle of firearms, a causal, meaningful connection arises between the two sounds. The tapping of the Morse-key seems