That is, the extract is started and finished with the same noise which is digetic sound. The extract is finished when the noise of the people outside is appeared again little by little under the background music. This is a good example how the sound supplies the impact of the visual narrative.
In other words, this climax of the extract is reinforced by the effect of the musical score and, as a consequence, the audience can be tense. This is because the fight is the most berserk and the explosive climax of the conflict between Mimi and Rosalia. The volume of music goes up and it is maximized when they fight violently. That kind of tempo and atmosphere is quite enough to match with the fight of the last shot. This magnificent music is a bit fast and waved. Rosalia’s shout and holding a knife is shown with the music. The most important sound in this extract is the orchestral background music which starts just after the knife strikes. The change of the digetic sound to non – digetic sound via adding effective sound can emphasize the reaction which is followed by hearing the sound. However, interestingly, this is more realistic and actual sound than real sound. This is actually the non – digetic sound as well. Above all, when the knife is flying through the air and sticks into the wood, the sound can not be heard in the real world. As a consequence, the sound of slapping becomes much louder and gives the audience more emotional effect. For example, when Mimi slaps Rosalia’s cheek, the supplementary non – digetic sound is added to the slapping sound. Some digetic sounds are exaggerated thorough putting non- digetic sounds together. Therefore, it is possible to say that this silence encourages the audience to concentrate on the character’s conversation. This kind of silence often appears because the following conversation is very serious and important to construct the narrative. Interestingly, although the noise of the people can be heard while they are talking, this disappears after the door is closed and not able to be heard by the characters and audience as well until their conversation is finished and the action is shown. The silence is broken by Mimi’s shout and the loud noise of an engineering tool being thrown. The noise is getting quieter, but the weeping is getting louder. In fact, the weeping crosses over to noise from the people. Only Rosalia’s weeping and Mimi’s snarling are able to be heard. After the noise stopped, there is no noise or background music. This noise stopped slowly when Mimi is walking toward Rosalia.
The extract begins with the noise of people who try to make him stop. As a consequence, the conflict becomes maximized at the next shot which Rosalia is trying to kill Mimi. This shot makes the knife strike and her anger unexpected and a surprise. However, when Mimi confesses his affair with Fiore to prove that he is not a fag and impotent, the camera shoots only Mimi’s face and does not show the wife’s reaction. When they are talking about the story of Rosalia’s affair, the camera shoots reverse shot.
These different camera angles tell us the relationship of the upper and lower positions between Mimi and his wife, Rosalia. In particular, when Mimi is trying to strangle and urge her to tell him the story, the camera shoots him through an extremely high angle. Not only in this scene but also in the whole movie, Italian masculinity is an overriding atmosphere. Overall, when the camera shoots Mimi, the low angle is used to make him look stronger and dominant, but the reverse is true for his wife. On the other hand, camera angle is also important to make the narrative clearly and dramatically. As he is standing in front of the camera and the high angle is used, the audience can focus on Mimi’s action and facial expression more than his wife who is sitting down with her head hanging down.
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