An Introduction to Film Sound: reading answers and analysis
A film's sound track has three parts: voice, sound effects and music, and the director must balance them. Dialogue tells the story and builds character, whether sparse and dull on purpose or fast and frantic. Sound effects add realism and suspense, and background music sets mood, hints at what's coming and links scenes, usually without being noticed.
The multiple choice (14-18) follows the passage from paragraph 1 to paragraph 5. The TRUE / FALSE / NOT GIVEN (19-23) is all about background music in paragraphs 7 and 8. The sentence endings (24-26) go back to paragraphs 1 and 3.
Answer key and self-check
Type what you wrote and hit mark. Hide the key first if you haven't done the passage yet. Every question number jumps to its explanation.
How to attack this block: Each question is tied to one example (Bogart, 2001, Bringing Up Baby, the door click). Ask why the writer gives that example, then choose the option that matches the point, not the one that repeats the example's details.
Question 14
Answer: BParagraph 1, first sentence
What point does the writer make in the opening paragraph?
Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound.
Question says → Passage says
it would be wrong to overlookwe really cannot afford to underestimate
the contribution of soundthe importance of film sound
Why: 'Cannot afford to underestimate' means it would be a mistake to overlook. The writer then says a sound track can be as complicated as the image, which is about artistry. B.
The trap: D picks up 'the responsibility of the director', but the passage says sound is the director's job too, not that the sound people should have sole responsibility. A's 'early stage' is never mentioned.
Question 15
Answer: AParagraph 3, middle
Why does the writer mention Humphrey Bogart?
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.
Question says → Passage says
the actor and the characterthe actor Humphrey Bogart is the character Sam Spade
appearing to have similar personalitiesfilm personality and life personality seem to merge
Why: Bogart is the example ('for example') of the audience seeing no difference between actor and character. Their personalities 'seem to merge', which is A.
The trap: B (visually appropriate) is close because the next sentences mention physiognomy and gestures. But the Bogart line is about personality, and the paragraph's stress is on the voice, not looks alone.
Question 16
Answer: BParagraph 3, last two sentences
What does the writer suggest about the dialogue in the film 2001?
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
Question says → Passage says
film dialogue that appears to be dullbanal and of little intrinsic interest
may have a specific purposeIn this way the film-maker was able to portray
Why: The dialogue in 2001 is dull on purpose: 'in this way' the film shows how weak human responses are next to technology and the universe. Dull dialogue with a purpose is B.
The trap: C (film-makers vary in skill) twists the line about dialogue varying 'widely among films'. It's the amount and use that varies, not the skill. D fails because 2001 was 'highly successful' with poor-quality dialogue.
Question 17
Answer: DParagraph 4, second sentence
What does the writer say about the comedy Bringing Up Baby?
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.
Question says → Passage says
emphasisesunderscores
key elements of the filmthe dizzy quality of the character… the absurdity of the film itself and thus its humor
Why: 'Underscores' = 'emphasises'. The fast dialogue highlights the character, the absurdity and the humour, the film's key elements. D.
The trap: B (one of the best comedies ever) overstates it: the writer never ranks the film. A fails because the plot isn't harmed; the audience just has to work to follow it.
Question 18
Answer: CParagraph 5, last sentence
Why does the writer mention the click of a door?
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
Question says → Passage says
may be modifiedcall attention to the 'click' with an increase in volume
manipulate the audience's responsehelps to engage the audience in a moment of suspense
Why: Turning up a normal sound to create suspense is changing it to steer how the audience feels. C.
The trap: A (a false impression) is tempting because the sound is altered. But the louder click doesn't mislead anyone about events; it builds tension around a real burglary.
TRUE / FALSE / NOT GIVEN
Questions 19-23
How to attack this block: Everything here is in the two background music paragraphs. 'Noticeable in its absence', 'foreshadows' and 'linking scenes' give the TRUE answers. The FALSE turns on music being 'not meant to be noticeable', and the NOT GIVEN compares individual viewers, which the passage never does.
Question 19
Answer: TRUEParagraph 7, first sentence
Would audiences notice if a film had no background music?
We are probably all familiar with background music in films, which has become so ubiquitous as to be noticeable in its absence.
Question says → Passage says
likely to be surprised if a film lacks background musicnoticeable in its absence
Why: Music is so common that you notice when it's missing. Noticing an unexpected absence is being surprised by it. TRUE.
The trap: Some people feel 'surprised' is stronger than 'noticeable' and choose NOT GIVEN. You only notice an absence because you expected the music, which is what surprise means here.
Question 20
Answer: TRUEParagraph 7, last two sentences
Can background music signal something that is about to happen?
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.
Question says → Passage says
anticipateforeshadows / indicate an approaching (but not yet visible)
a development in a filma change in mood / menace or disaster
Why: 'Foreshadows' means hints at what's coming. A menace that's approaching but not yet visible is a development the music anticipates. TRUE.
Question 21
Answer: NOT GIVENParagraph 7
Does background music affect some people more than others?
We are aware that it is used to add emotion and rhythm.
Question says → Passage says
Background music has… effectused to add emotion and rhythm
Why: The passage explains what background music does to an audience in general but never compares how different people react. NOT GIVEN.
The trap: The click-of-the-door paragraph says some sounds are only noted 'subconsciously', which might suggest different reactions. Nothing compares individuals.
Question 22
Answer: TRUEParagraph 8
Can background music help the audience link parts of the film?
Background music may aid viewer understanding by linking scenes.
Question says → Passage says
help the audienceaid viewer understanding
make certain connections within the filmlinking scenes / remind the audience of salient motifs or ideas
Why: 'Aid' = 'help' and 'linking scenes' = making connections. A repeated theme reminds viewers of a character or idea. TRUE.
Question 23
Answer: FALSEParagraph 7, third sentence
Do audiences usually know how background music is affecting them?
Usually not meant to be noticeable, it often provides a tone or an emotional attitude toward the story
Question says → Passage says
Audiences tend to be awareUsually not meant to be noticeable / noted by only our subconscious minds
Why: Background music usually isn't meant to be noticed, and the last paragraph adds that sound effects are often noted 'by only our subconscious minds'. So audiences aren't usually aware of its effect. FALSE.
The trap: 'We are aware that it is used to add emotion' looks like a match. Knowing music is used in films isn't the same as noticing how it's affecting you at that moment.
Sentence endings (A-E)
Questions 24-26
How to attack this block: Three beginnings, five endings, with two decoys about the audience's concerns and the director's awareness. Match each beginning to the exact sentence: the three-track mix in paragraph 1, and the dialogue and voice sentences in paragraph 3.
Question 24
Answer: CParagraph 1, last two sentences
How can a film control how the audience reacts to different parts of it?
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.
Question says → Passage says
voice, sound and musicthe human voice, sound effects and music
combined appropriatelymixed and balanced
The audience's response… can be controlledcreate desired effects
Why: When the three tracks are mixed and balanced, they create the effects the film-makers want. That's controlling the audience's response. C.
The trap: D (the director knows how the audience will respond) sounds reasonable, but the passage never says it. The mechanism it gives is the mix of the three tracks.
Question 25
Answer: AParagraph 3, second sentence
How do characters' feelings and motivations become clear?
dialogue serves to tell the story and expresses feelings and motivations of characters as well
Question says → Passage says
The feelings and motivations of characters become clearexpresses feelings and motivations of characters
listens to the dialoguedialogue serves to
Why: Dialogue 'expresses' the feelings and motivations, so they become clear when the audience listens to it. A.
The trap: E is also about characters, but it explains why a character seems real, which is question 26.
Question 26
Answer: EParagraph 3, middle
When does a character seem like a real person instead of an actor?
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.
Question says → Passage says
the actor's appearance, voice and movesvoice textures… physiognomy and gestures
are consistent with each otherfit
a real person rather than an actornot an actor working at his craft, but another human being
Why: Physiognomy is facial appearance and gestures are movements. When the voice fits both, the viewer sees a real human being. E.
The trap: A (listening to dialogue) is in the same paragraph, but the 'real person' effect comes from the voice matching looks and movement, not from what's said.
FALSE. 'We are aware that it is used' looks like TRUE, but background music is 'usually not meant to be noticeable', so audiences don't notice its effect.
Bogart shows actor and character personalities merging. B (looking right for the role) picks up the later lines about appearance and gestures.
Words from this passage worth keeping
underestimate(Paragraph 1)
think something is less important than it really is
physiognomy(Paragraph 3)
a person's facial features
banal(Paragraph 3)
boring and ordinary
frenetic(Paragraph 4)
fast and wild
ominous(Paragraph 5)
suggesting something bad is about to happen
ubiquitous(Paragraph 7)
found everywhere
foreshadows(Paragraph 7)
hints at what will happen later
salient(Paragraph 8)
most noticeable or important
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The full Cambridge 11 Test 4 reading paper: all three passages, 60 minutes, marked the second you finish with a review of every answer. Already done it? Take it again and see if the same traps still get you.
Cambridge IELTS 11, Test 4, Reading Passage 2. The passage and questions belong to Cambridge University Press and are not reproduced here. We quote short extracts only as evidence for our own commentary, and the answers are published for self-marking. Get the book for the full text, or sit the test on Langujet.
