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104 Mobile Culture Studies. The Journal 6 2o20 (Travel) Anna Karina Sennefelder | Revival of the cultural stereotype? depict the strenuous, noisy life in India, and contrasted with the lonely silence of the Nepalese mountains by means of a clearly stylised match-cut, whereby the ‘match’ functions “figura- tively” and in terms of “sound” (Monaco 2011: 152): Figuratively, Allgaier, sitting next to Weisser in front of magnificent mountain scenery, ‘closes’ a framed picture on which the previously shown pictures of Indian street life continue, which is simultaneously accompanied by ‘turning off’ the sound. The medium long shot, which shows Allgaier ‘closing out the noise’, is then cut into a long shot, which reveals the mountain backdrop behind the two travellers sitting next to their tent. The setting is explained and situated with the superimposed writing: “Him- alayas, Nepal”, whereby the text, displayed this time not in the VO but in writing, supports the effect of the idyllic silence [see Fig. 8.1–3]. Reiss aus uses the same effect. The close-up of the black ant trail and the medium long shot of the ‘human trail’, which are both shown in quick motion, is accompanied by film music with accelerating drum sounds. The drums end abruptly with a cut to a head and shoulder close-up of Stirnat, resting his head on the steering wheel of the Land Rover. In both sequences, visual stereo- types — amorphous and anon- ymous masses of black people in noisy streets — are used to set the protagonists apart as rest-loving travellers. The problem of such visual stereotyping also includes the suggestion that, unlike the travellers, the people who are seen in the noisy, dirty, hectic urban living spaces do not seek to dis- tinguish themselves from their inhuman surroundings. The lack of any commentary — who can simply get out of the noisy Dehli and enjoy the peace and quiet in Nepal? Who can simply run off into the desert when everyday life becomes too stressful? — rein- forces the impression that the Fig. 9–11: Reiss aus, contrasting noise and silence sequence, 21:39; 21:45; 21:49