In film, this statement applies tenfold. Whether diegetic (within the film, e.g. - dialogue) or nondiegetic (outside of the film, e.g. - narration), sound can tell a story from various perspectives, regardless of what the camera is doing.
Let's examine Michael Powell's PEEPING TOM (1960):
In the infamous dance sequence with Moira Shearer, the music takes a different turn. We are presented with a radio (diegetic) blasting music. While this scene seems to suggest
little more than a ruse to get Shearer’s character on her own, the sound structure of the scene tells of much more going on psychologically
within Mark’s world. As he starts to enact his rather twisted plan, this diegetic music
inexplicably fades out. There’s no explanation given within the visuals
of the film; the sound simply zones out. It is however replaced with
the piano melody that has gradually become a leitmotif for an impending
murder which proceeds to get louder and louder. This music's existence suggests that Mark is actually scoring his snuff films in his
own head, making a number of sections within the score come under that
ever complex description of meta-diegetic. If his past is haunting him with voices that the
viewers can hear, surely the viewer can also hear his cinematic
autuerism deciding on his own musical scoring?
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