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References List •Chatman, S.B., (1990) Coming to Terms: The Rhetoric of Narrative in Fiction and Film. Cornell University Press (Cornell Paperbacks). •McKeon, R., (1941) The Basic Works of Aristotle. Random House Publishing Group (Modern Library Classics). •Berger, A.A., (2015) Media and Communication Research Methods: An Introduction to Qualitative and Quantitative Approaches. SAGE Publications. •Gill Branston, Roy Stafford, (2010) The Media Student's Handbook. 5th Edition. Routledge. •Stiller, M., (2016) Sound in Cinema. Atropos Press (Think Media. EGS media philosophy series). •Buhler, J. and Neumeyer, D., (2016) Hearing the Movies: Music and Sound in Film History. Oxford University Press. •Van Der Zwaag, M., Westerink, J. and van den Broek, E.L., (2011) 'Emotional and psychophysiological responses to tempo, mode, and percussiveness,' Musicae Scientiae, 15, pp. 250–269. •Juslin, P. and Väställ, D., (2008) 'Emotional Responses to Music: The Need to Consider Underlying Mechanisms,' The Behavioral and Brain Sciences, 31, pp. 559–75; discussion. •Goodale, G., (2011) Sonic Persuasion: Reading Sound in the Recorded Age, University of Illinois Press, Baltimore. Frame from Christopher Nolan's Dark Knight (2008). is also a persuasion device. When he delivered the line, "the only thing we have to fear is fear itself," Roosevelt made a long pause after "is" and before "fear itself." "The pause marked Roosevelt's close attention to the sound of his voice, his understanding of the power of radio, and his awareness of what the pause would do to his audience." (Goodale, G., 2011). Silences and pauses command attention. A popular recent example of sound designers using silence and pauses can be found in Star Wars. At [1:51:51], Admiral Holdo (Laura Dern) switches on the hyper-drive and flies through Snoke's flagship at the speed of light, destroying it in its path. During this sequence, the music drops completely and only a low frequency rumble is heard as we see the Supremacy falling apart, then for a brief moment, all sound drops out, only to come back with a bang as we finally hear the shockwave from the ship's explosion. Another great example of sonic pause can be found in Dark Knight (2008) at [1:21:25] when the Joker's trailer truck flips over and most sound is taken out right before the truck comes crashing down on the asphalt. These sonic pauses serve a double effect. They command the attention of the audience and by momentarily increasing the signal-to-noise ratio (SNR), they cause any subsequent sounds, especially transient sounds, to have a higher apparent loudness and clarity. 4