the first scenario allows association of a sound with a specific image from the outset, chion calls this "visualised" sound (what schaeffer referred to as "direct" sound). in this case it becomes an "embodied" sound, "identified with an image, demythologized, classified". in the second instance the sound source remains veiled for some time, to heighten tension, and is only later revealed, a dramatic feature that is commonly used in mystery and suspense based cinema; this has the effect of "de-acousmatizing" the initially hidden source of the sound (chion 1994, 72). chion states that "the opposition between visualised and acousmatic provides a basis for the fundamental audiovisual notion of offscreen space" (chion 1994, 73).