With M (Fritz Lang, 1931) as a primary example, address some of the ways that diegetic film sound expands the world of the film beyond the frame of the image. In what ways might film music contribute to (or interfere with) one’s emotional or cognitive engagement with a particular film?
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How does film contribute to what Doane refers to as the heterogeneity of the cinema—particularly, for instance, when it comes to the relationship between the image and voice of a performer? Consider—as it relates to film or the world at large—the ways in which hearing differs from seeing phenomenologically (in terms of physically experiencing or sensing) and/or epistemologically (in terms of how we know or understand).