{"id":99236,"date":"2025-10-23T12:13:37","date_gmt":"2025-10-23T16:13:37","guid":{"rendered":"https:\/\/carleton.ca\/news\/?post_type=cu_story&#038;p=99236"},"modified":"2025-10-23T14:48:21","modified_gmt":"2025-10-23T18:48:21","slug":"frightful-films-conjure-terror-quiet","status":"publish","type":"cu_story","link":"https:\/\/carleton.ca\/news\/story\/frightful-films-conjure-terror-quiet\/","title":{"rendered":"Creepy Cicadas, Ticking Clocks and Jump Scares: How Frightful Films Conjure Terror out of Quiet"},"content":{"rendered":"\n<section class=\"w-screen px-6 cu-section cu-section--white ml-offset-center md:px-8 lg:px-14\">\n    <div class=\"space-y-6 cu-max-w-child-max  md:space-y-10 cu-prose-first-last\">\n\n        \n                    \n                    \n            \n    <div class=\"cu-wideimage relative flex items-center justify-center mx-auto px-8 overflow-hidden md:px-16 rounded-xl not-prose  my-6 md:my-12 first:mt-0 bg-opacity-50 bg-cover bg-cu-black-50 pt-24 pb-32 md:pt-28 md:pb-44 lg:pt-36 lg:pb-60 xl:pt-48 xl:pb-72\" style=\"background-image: url(https:\/\/carleton.ca\/news\/wp-content\/uploads\/sites\/162\/2025\/10\/weapons-screenshot-1920x800-1-1600x700.jpg); background-position: 63% 44%;\">\n\n                    <div class=\"absolute top-0 w-full h-screen\" style=\"background-color:rgba(0,0,0,0.600);\"><\/div>\n        \n        <div class=\"relative z-[2] max-w-4xl w-full flex flex-col items-center gap-2 cu-wideimage-image cu-zero-first-last\">\n            <header class=\"mx-auto mb-6 text-center text-white cu-pageheader cu-component-updated cu-pageheader--center md:mb-12\">\n\n                                    <h1 class=\"cu-prose-first-last font-semibold mb-2 text-3xl md:text-4xl lg:text-5xl lg:leading-[3.5rem] cu-pageheader--center text-center mx-auto after:left-px\">\n                        Creepy Cicadas, Ticking Clocks and Jump Scares: How Frightful Films Conjure Terror out of Quiet\n                    <\/h1>\n                \n                            <\/header>\n        <\/div>\n\n                    <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"absolute bottom-0 w-full z-[1]\" fill=\"none\" viewbox=\"0 0 1280 312\">\n                <path fill=\"#fff\" d=\"M26.412 315.608c-.602-.268-6.655-2.412-13.524-4.769a1943.84 1943.84 0 0 1-14.682-5.144l-2.276-.858v-5.358c0-4.876.086-5.358.773-5.09 1.674.643 21.38 5.84 34.646 9.109 14.682 3.59 28.935 6.858 45.936 10.449l9.874 2.089H57.322c-16.4 0-30.31-.16-30.91-.428ZM460.019 315.233c42.974-10.074 75.602-19.88 132.443-39.867 76.16-26.791 152.063-57.709 222.385-90.663 16.7-7.823 21.336-10.074 44.262-21.273 85.004-41.688 134.719-64.193 195.291-88.413 66.55-26.577 145.2-53.584 194.27-66.765C1258.5 5.626 1281.34 0 1282.24 0c.17 0 .34 27.596.34 61.3v61.299l-2.23.375c-84.7 13.718-165.93 35.955-310.736 84.931-46.494 15.753-65.427 22.076-96.166 32.15-9.102 3-24.814 8.198-34.989 11.574-107.543 35.954-153.008 50.422-196.626 62.639l-6.74 1.876-89.126-.054c-78.135-.054-88.782-.161-85.948-.857ZM729.628 312.875c33.229-10.985 69.248-23.523 127.506-44.207 118.705-42.223 164.596-57.709 217.446-73.302 2.62-.75 8.29-2.465 12.67-3.751 56.19-16.772 126.94-33.597 184.17-43.671 5.07-.91 9.66-1.768 10.22-1.875l.94-.161v170.236l-281.28-.054H719.968l9.66-3.215ZM246.864 313.411c-65.041-2.251-143.047-12.11-208.432-26.256-18.375-3.965-41.73-9.538-42.202-10.074-.171-.214-.257-21.38-.214-47.046l.129-46.618 6.654 3.697c57.313 32.043 118.491 56.531 197.699 79.143 40.313 11.521 83.459 18.058 138.669 21.059 15.584.857 65.685.857 81.14 0 33.744-1.876 61.306-4.93 88.396-9.806 6.396-1.126 11.634-1.983 11.722-1.929.255.375-20.48 7.769-30.999 11.038-28.592 8.948-59.288 15.646-91.873 20.147-26.36 3.59-50.015 5.627-78.35 6.698-15.584.59-55.209.59-72.339-.053Z\"><\/path>\n                <path fill=\"#fff\" d=\"M-3.066 295.067 32.06 304.1v9.033H-3.066v-18.066Z\"><\/path>\n            <\/svg>\n            <\/div>\n\n    \n\n    <\/div>\n<\/section>\n\n\n\n<p><em>This story contains spoilers about the movie &#8216;Weapons.<\/em>&#8216;<\/p>\n\n\n\n<p>As we approach the&nbsp;<a href=\"https:\/\/horrorobsessive.com\/2021\/10\/02\/how-halloween-became-the-scariest-night-of-the-year\/\">scariest time of year<\/a>, we need to make sure our home screens are in good working order for horror films, in particular the volume control.<\/p>\n\n\n\n<p>It&#8217;s true that some effects of&nbsp;<a href=\"https:\/\/www.taylorfrancis.com\/chapters\/edit\/10.4324\/9780203860311-17\/beauty-horror-kilar-coppola-dracula-james-deaville\">the horror genre<\/a>&nbsp;are based on sounds that are popularly linked to danger \u2014 but let&#8217;s not forget the contrasting silences that are necessary for jump scares to have their full impact.<\/p>\n\n\n\n<p>It\u2019s not just in feature films where the sonic device of &#8220;un-sound&#8221; works: horror&nbsp;<a href=\"https:\/\/www.taylorfrancis.com\/chapters\/edit\/10.4324\/9781315681047-20\/trailer-leader-role-music-sound-cinematic-previews-james-deaville\">trailers<\/a>&nbsp;are filled with unexpected&nbsp;<a href=\"https:\/\/doi.org\/10.56698\/filigrane.1360\">crashes out of stillness<\/a>&nbsp;and all-too-brief fragments that beg questions.<\/p>\n\n\n\n<p>Skilled directors and sound designers can frighten us in myriad ways, and sometimes through less in this all-too-noisy world.<\/p>\n\n\n\n<h2 id=\"space-and-emptiness\" class=\"wp-block-heading has-text-align-center\">Space and emptiness<\/h2>\n\n\n\n<p>In&nbsp;<a href=\"https:\/\/www.npr.org\/2025\/08\/09\/nx-s1-5494471\/weapons-review-horror\" target=\"_blank\" rel=\"noreferrer noopener\">this year&#8217;s contender<\/a> for&nbsp;best horror picture,&nbsp;<em>Weapons<\/em>, director Zach Cregger wanted the sound team to adopt an understated approach to express a &#8220;<a href=\"https:\/\/www.asoundeffect.com\/weapons-film-sound\/\">sense of space and emptiness<\/a>&#8221; for the movie\u2019s locations.<\/p>\n\n\n\n<p>He nevertheless deploys jump scares of varying intensity in diverse contexts, several of them involving the sudden appearance of the head of&nbsp;<a href=\"https:\/\/thetab.com\/2025\/08\/11\/the-weapons-director-just-explained-the-origins-of-aunt-gladys-the-films-ending-never-tells-you\">the witch Aunt Gladys (Amy Madigan)<\/a>.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Watch Julia Garner Visit a Creepy Home in \u2018Weapons\u2019 | Anatomy of a Scene\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/cSbqXbvx294?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Most deliver quick, unexpected frights, but one represents the classic horror slow burn, as teacher Justine Gandy (Julia Garner) walks around a seemingly deserted house to the accompaniment of cicadas.<\/p>\n\n\n\n<p>In the words of Cregger, the cicadas &#8220;<a href=\"https:\/\/www.nytimes.com\/video\/movies\/100000010326860\/weapons-scene.html\">become the score<\/a>,&#8221; their constant droning calming and unsettling us as we look through the window with Justine. We share her shock when we realize that there are two immobile figures sitting inside. Terror is conjured out of stillness.<\/p>\n\n\n\n<h2 id=\"a-quiet-place\" class=\"wp-block-heading has-text-align-center\">&#8216;A Quiet Place&#8217;<\/h2>\n\n\n\n<p><em>Weapons<\/em>&nbsp;and other releases this past year continued the practice of&nbsp;<a href=\"https:\/\/www.theguardian.com\/film\/2018\/apr\/06\/silence-movies-noise-cinema-quiet-place-wonderstruck\">crafting horror scenarios out of silence<\/a>.<\/p>\n\n\n\n<p>The&nbsp;<a href=\"https:\/\/www.vox.com\/2018\/5\/26\/17396174\/a-quiet-place-sound-design-loud\"><em>A Quiet Place<\/em><\/a>&nbsp;franchise, starting with the 2018 film which invoked the terror of alien invasion, helped to put horror silence on the map.<\/p>\n\n\n\n<p>The 2018 film,&nbsp;<a href=\"https:\/\/publish.lib.umd.edu\/index.php\/scifi\/article\/view\/349\">with little verbal dialogue and a central Deaf character<\/a>, also challenged the long eugenicist association of disability with monstrosity \u2014 often fashioned with what my scholarship&nbsp;<a href=\"https:\/\/doi.org\/10.1386\/jivs_00007_1\">has called <\/a>&#8220;<a href=\"https:\/\/doi.org\/10.1386\/jivs_00007_1\">the moaning of unlife.<\/a>&#8220;<\/p>\n\n\n\n<p>Horror silences were similarly essential to conjure the strangeness and weirdness of grief and hauntings in another&nbsp;<a href=\"https:\/\/www.imdb.com\/title\/tt7784604\/\">2018 film, <em>Hereditary<\/em><\/a>. The film\u2019s sound designer, Asbjoern Andersen, has remarked &#8220;<a href=\"https:\/\/www.asoundeffect.com\/hereditary-sound\/\">it&#8217;s the quiet ones you have to look out for<\/a>,&#8221; a dictum that he brought to life through long pauses in dialogue, low and brooding music and threatening atmospheres of indistinct sounds.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"A Quiet Place (2018) - Official Teaser Trailer - Paramount Pictures\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/p9wE8dyzEJE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>The same holds true for the sonic environment of the Netflix series&nbsp;<a href=\"https:\/\/www.imdb.com\/title\/tt6763664\/\"><em>The Haunting of Hill House<\/em><\/a>&nbsp;(also 2018), where sound editor Trevor Gates was able to create atmospheres to convey isolation and discover novel ways to &#8220;<a href=\"https:\/\/www.asoundeffect.com\/the-haunting-of-hill-house-sound\/\">hold a silence<\/a>.&#8221;<\/p>\n\n\n\n<p>In such contexts, absolute silence is not necessary \u2014 any kind of low-end drone or soft, repetitive sound like a&nbsp;<a href=\"https:\/\/doi.org\/10.1386\/host.1.2.225_1\">ticking clock<\/a>&nbsp;or a babbling brook could lull audiences into a false sense of security.<\/p>\n\n\n\n<h2 id=\"crashes-out-of-stillness\" class=\"wp-block-heading has-text-align-center\">Crashes out of stillness<\/h2>\n\n\n\n<p>Prior to these recent productions, masterful directors and sound designers crafted dread and&nbsp;<a href=\"https:\/\/doi.org\/10.1386\/host.1.2.165_1\">psychological depth<\/a>&nbsp;and viscerality partly through silence.<\/p>\n\n\n\n<p>According to film specialists, the&nbsp;<a href=\"https:\/\/www.researchgate.net\/profile\/Robert-Baird-12\/publication\/240759158_The_Startle_Effect_Implications_for_Spectator_Cognition_and_Media_Theory\/links\/674e26a93d17281c7df455cb\/The-Startle-Effect-Implications-for-Spectator-Cognition-and-Media-Theory.pdf\">first classic jump scare<\/a>&nbsp;occurred in the 1942 movie&nbsp;<em>Cat People<\/em>&nbsp;when producer Val Lewton, director Jacques Tourneur and film editor Mark Robson&nbsp;<a href=\"https:\/\/brightlightsfilm.com\/darkness-darkness-films-val-lewton-looking-back-b-movie-master\/\">created a scene<\/a>&nbsp;that involved a woman walking alone to a bus stop, her rising dread of being followed giving way to a&nbsp;<a href=\"https:\/\/www.youtube.com\/watch?v=RFtZAVgf1Yg&amp;t=12s\">sudden, explosive bus entrance<\/a>.<\/p>\n\n\n\n<p>This type of scene became known as the&nbsp;<a href=\"https:\/\/www.furiouscinema.com\/furious-scenes-cat-people-lewton-bus\">Lewton Bus<\/a>: a gradual buildup followed by a sudden shock through misdirection and a sharp sonic jolt. The practice would become a commonplace in the&nbsp;<a href=\"https:\/\/doi.org\/10.1353\/san.2022.a899840\" target=\"_blank\" rel=\"noreferrer noopener\">producer&#8217;s later work<\/a>.<\/p>\n\n\n\n<h2 id=\"lulled-into-complicity\" class=\"wp-block-heading has-text-align-center\">Lulled into complicity<\/h2>\n\n\n\n<p>This sharp sonic jolt soundtrack device just needed the touch of director&nbsp;<a href=\"https:\/\/doi.org\/10.1353\/hit.2019.0000\">Alfred Hitchcock<\/a>&nbsp;to become iconic in the famous shower scene of&nbsp;<a href=\"https:\/\/www.youtube.com\/watch?v=0WtDmbr9xyY\"><em>Psycho<\/em><\/a> (1960).<\/p>\n\n\n\n<p>Commentators \u2014 both academic and popular \u2014 frequently reference composer and film scorer Bernard Herrmann\u2019s&nbsp;<a href=\"https:\/\/doi.org\/10.1386\/st.3.1.53_1\">screeching string sound<\/a>&nbsp;as the brilliant sonic representation of the stabbing knife.<\/p>\n\n\n\n<p>Yet they typically pass over what makes the scene&#8217;s&nbsp;<a href=\"https:\/\/www.jstor.org\/stable\/43796514\">explosive violence<\/a>&nbsp;so unexpected and visceral: the constant sound of the shower water that \u2014 like silence \u2014 lulls the audience (and victim) into complacency.<\/p>\n\n\n\n<p>Hitchcock knew how to strategically mobilize stillness to make threats more tangible,&nbsp;<a href=\"https:\/\/www.theguardian.com\/film\/2013\/sep\/30\/north-by-northwest-grant-hitchcock\">like in the drawn out and famous crop-duster scene<\/a>&nbsp;of&nbsp;<em><a href=\"https:\/\/www.youtube.com\/watch?v=TtbOConPflA\">North by Northwest<\/a><\/em>&nbsp;(1959).<\/p>\n\n\n\n<p>In Hitchcock&#8217;s wake, notable examples occur in Steven Spielberg&#8217;s&nbsp;<em>Jaws<\/em>&nbsp;from 1975 (especially the&nbsp;<a href=\"https:\/\/www.youtube.com\/watch?v=2I91DJZKRxs&amp;t=1s\" target=\"_blank\" rel=\"noreferrer noopener\">shark&#8217;s first closeup<\/a>), at key moments in John Carpenter&#8217;s&nbsp;<a href=\"https:\/\/www.youtube.com\/watch?v=9ZXmroSvTDQ&amp;t=4s\"><em>Halloween<\/em><\/a>&nbsp;(1978), and \u2014 much later \u2014&nbsp;<a href=\"https:\/\/faroutmagazine.co.uk\/what-does-the-terrifying-diner-scene-in-mulholland-drive-mean\/\">in the notorious<\/a>&nbsp;<a href=\"https:\/\/www.youtube.com\/watch?v=UozhOo0Dt4o\">diner scene<\/a>&nbsp;from David Lynch&#8217;s&nbsp;<em>Mulholland Drive<\/em>&nbsp;(2001).<\/p>\n\n\n\n<h2 id=\"the-psychology-of-fear\" class=\"wp-block-heading has-text-align-center\">The psychology of fear<\/h2>\n\n\n\n<p>These and other directors have understood how to exploit the&nbsp;<a href=\"https:\/\/doi.org\/10.3389\/fpsyg.2019.02298\">psychology of fear<\/a>&nbsp;to evoke startled responses of terror among audiences.<\/p>\n\n\n\n<p>The jump scare and related fright-inducing sonic scenarios would become parodied in&nbsp;<a href=\"https:\/\/wheresthejump.com\/jump-scares-in-scream-1996\/\"><em>Scream<\/em><\/a>&nbsp;and the&nbsp;<a href=\"https:\/\/www.imdb.com\/list\/ls057029693\/\"><em>Scary Movie<\/em> series<\/a>&nbsp;(2000-13), for example, where false (&#8220;cat&#8221;) scares subvert horror\/slasher traditions.<\/p>\n\n\n\n<p>This Halloween season, if you watch horror and suspenseful films, I encourage you to pay attention to&nbsp;<a href=\"https:\/\/www.imdb.com\/title\/tt0102926\/\">the silence of the frames<\/a>.<\/p>\n\n\n\n<p>&#8211;<\/p>\n\n\n\n<p><em class=\"myprefix-text-italic\"><a href=\"https:\/\/carleton.ca\/music\/people\/deaville-james\/\" target=\"_blank\" rel=\"noreferrer noopener\">James Deaville<\/a>\u00a0is a professor of music at Carleton University.<\/em><\/p>\n\n\n\n<p><em class=\"myprefix-text-italic\">This article is\u00a0<a href=\"https:\/\/theconversation.com\/creepy-cicadas-ticking-clocks-and-jump-scares-how-frightful-films-conjure-terror-out-of-quiet-266750\" target=\"_blank\" rel=\"noreferrer noopener\">republished<\/a>\u00a0from The Conversation under a Creative Commons licence. All photos provided by\u00a0<a href=\"https:\/\/theconversation.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">The Conversation<\/a>\u00a0from various from various sources.<\/em><\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>As we approach the\u00a0scariest time of year, we need to make sure our home screens are in good working order for horror films, in particular the volume control.<\/p>\n<p>It&#8217;s true that some effects of\u00a0the horror genre\u00a0are based on sounds that are popularly linked to danger \u2014 but let&#8217;s not forget the contrasting silences that are necessary for jump scares to have their full impact.<\/p>\n","protected":false},"author":52,"featured_media":99241,"template":"","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"cu_story_type":[1623],"cu_story_tag":[1920],"class_list":["post-99236","cu_story","type-cu_story","status-publish","has-post-thumbnail","hentry","cu_story_type-expert-perspectives","cu_story_tag-faculty-of-arts-and-social-sciences"],"acf":{"cu_post_thumbnail":""},"_links":{"self":[{"href":"https:\/\/carleton.ca\/news\/wp-json\/wp\/v2\/cu_story\/99236","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/carleton.ca\/news\/wp-json\/wp\/v2\/cu_story"}],"about":[{"href":"https:\/\/carleton.ca\/news\/wp-json\/wp\/v2\/types\/cu_story"}],"author":[{"embeddable":true,"href":"https:\/\/carleton.ca\/news\/wp-json\/wp\/v2\/users\/52"}],"version-history":[{"count":6,"href":"https:\/\/carleton.ca\/news\/wp-json\/wp\/v2\/cu_story\/99236\/revisions"}],"predecessor-version":[{"id":99276,"href":"https:\/\/carleton.ca\/news\/wp-json\/wp\/v2\/cu_story\/99236\/revisions\/99276"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/carleton.ca\/news\/wp-json\/wp\/v2\/media\/99241"}],"wp:attachment":[{"href":"https:\/\/carleton.ca\/news\/wp-json\/wp\/v2\/media?parent=99236"}],"wp:term":[{"taxonomy":"cu_story_type","embeddable":true,"href":"https:\/\/carleton.ca\/news\/wp-json\/wp\/v2\/cu_story_type?post=99236"},{"taxonomy":"cu_story_tag","embeddable":true,"href":"https:\/\/carleton.ca\/news\/wp-json\/wp\/v2\/cu_story_tag?post=99236"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}