英国论文重复率：有声电影和无声电影
声学世界是声音电影的商业环境，是揭示声音要素的关键所在。声学景观表现了自然元素、物体语言和生计之间的亲密交流。语言的要素不仅仅是人类的语言，事实上，它还包括其他具有持续影响和生命、情感和直接思想的对话能力。这可以是轰鸣的机器，大海的声音，城市的夜生活，或者雨点敲打窗户的声音。聆听和观察这些声音的能力令人着迷。大多数情况下，敏感的抒情诗人在描述那些使用诗歌手法和押韵词的人的时候，会聆听这种生活的声音(Bordwell & Thompson, 2009)。有声电影允许通过屏幕直接讲话。
在有声电影的设置中，不需要对声音进行解释。场景由眼神、手势、微笑、精确的细微差别和许多不同的表情构成。当把事物的声音和声音结合起来，观众可以看到整个面相。机器发出的噪音可以有不同的关系，当看到旋转的机器同时。如果聚焦于波的运动，波发出的声音可以被不同的人听到(Livingston & Plantinga, 2009)。正如颜色的价值和它的阴影发生变化一样，声音也因同时看到它们的可见声音的手势或面相而发生变化。在声音胶片的设置中使用声音，在一张图片中有一个光学和声学印象的等效链接。在广播剧的设置中必须有文字的描述，因为只有声音不能帮助创造空间。
英国论文重复率：有声电影和无声电影
电影中的寂静与空间
沉默可以作为声音效果的一部分，但这只可能是在听声音。无声电影是有声电影最具戏剧性的影响之一。没有其他艺术形式专注于再现沉默。这是不可能的艺术形式的雕塑，绘画，无声电影或文学。在舞台上也有一种罕见的沉默，在短时间内具有戏剧性的效果。广播剧不能使用深度的静音，因为没有声音会导致整个演出停止(Livingston & Plantinga, 2009)。不采取行动就不能继续保持沉默。得到的结果是停止的声音，没有任何作用的沉默。有各种不同的声音和声音，但沉默是一种物质。然而，一个人需要强烈的听觉去倾听沉默。声音导致可见元素的分化，使它们彼此接近，并确保较少的差异。所有的绘画都提供了一种快乐和谐的表达方式，隐藏着无声元素的相互语言，彼此交谈(Murch, 2001)。在进入一种牢固的关系时，必须对形状进行识别。这些成分在所有元素中都是常见的。这是一个主要的好处，以使用在无声电影的背景。在风景和背景音乐的声音中，所有的声音都可以作为静音。在相互的音乐背景下，观众可以在屏幕上看到物体和人物。这有助于在共同的音乐背景下用无声的语言说话，同时感受非理性的交流(Shaw, 2008)。然而，在无声电影中，只有通过迂回曲折的途径才能再现沉默。在戏剧舞台的设置中，对话处于停顿状态，没有触动沉默所表达的情感。这是因为舞台上提供的空间非常小，寂静本质上是作为一个空间来体验的。
英国论文重复率：有声电影和无声电影
The acoustic world presents the business environment of sound films for revealing the crucial acoustic elements. The acoustic landscape presents intimate communication of natural elements, speech of objects, and livelihood. The element of speech is not just human speech, and in fact, these include other conversational powers of incessant impacts and life, emotions and direct thoughts. This can be a roaring machine, sound of the ocean, night life of a city, or rain clattering on the windowpane. The ability of listening to and observing these sounds is mesmerizing. Mostly, sensitive lyrical poets listen to such sound of life while describing those using poetic devices and rhyming words (Bordwell & Thompson, 2009). The sound film allows direct speech by the use of the screen.
In the setting of sound film, there is no need of providing explanation for sounds. Scenes are made using glance, gestures, smile, exact nuance, and a number of different expressions. When combine the voices of things and the sounds, the audience can see the entire physiognomy. The noise made by a machine can be related differently, on seeing the whirling machinery simultaneously. The sound made by wave can be heard differently if focusing on its movement (Livingston & Plantinga, 2009). Just as changes take place in the value of colour and its shade, there are changes in sound by the gesture or physiognomy of the visible sounds seeing them simultaneously. With the use of sound in the setting of sound films, there is an equivalent link of optical and acoustic impressions within a single picture. There has to be description of words in the setting of radio play as only sound cannot help in the creation of space.
英国论文重复率：有声电影和无声电影
Silence and Space in Cinema
Silence can be related as a part of acoustic effect, but that is only possible on listening to sounds. The silence presented is among the most certain dramatic impact of sound film. There is no other art form focusing on the reproduction of silence. This is not possible in the art forms of sculpture, painting, silent film or literature. There is also a rare appearance of silence on stage with dramatic effects for a short period of time. Radio plays cannot use silence in depth, as it will result in ceasing the entire performance due to no sounds (Livingston & Plantinga, 2009). There cannot be continuation of silence in the lack of action. The outcome obtained is from the cessation sound without any role played by silence. There are various different voices and sounds, but silence is used as a substance. However, one requires strong sense of hearing to listen to silence. Sound results in the differentiation of visible element are bringing them close to one another and ensuring less dissimilarity. All paintings provide an expression of happy harmony with hidden mutual language of mute elements to converse with one another (Murch, 2001). There has to be recognition of shapes, while making an entry into a strong relationship. These compositions are common in all elements. This acts as a major benefit to be used in the setting of silent film. Muting all sound can act as silence in the voice of landscapes and background music. There are objects and characters as the audience can see on the screen against mutual musical landscape. This helps in speaking upon silent language commonly, while feeling the irrational communication in the common musical background (Shaw, 2008). Nevertheless, there can be reproduction of silence in the silent films only from roundabout sources. In the setting of theatrical stage, dialogues are under cessation without touching up emotions expressed by silence. This is because the space provided in the stage is extremely small, and silence is essentially experienced as a space.
