The Exorcist (William Friedkin, 1973) was one of the first films of the 1970s that sought to break down the rigid barriers between the industrial definitions of dialogue, music, and sound effects, while also actively engaging questions about the ontological nature of sound in motion pictures. Released on December 26, 1973, the film represents director William Friedkin’s calculated attempt to shock and terrify his audience using any means at his disposal. The Exorcist’s subject matter, drawn from William Peter Blatty’s best-selling horror novel of the same title, guaranteed a large audience for the film. But Friedkin wanted to make it more than just a simple adaptation. Along with a number of questionable methods for eliciting the ‘proper’ reaction from his actors—including the firing of guns on the set, physically striking his actors, and submitting them to torturous stunt work—Friedkin also experimented with a variety of special effects, makeup, and a highly expressive soundtrack. In light of these elements The Exorcist can be evaluated for its attempts to directly stimulate the audience through formal means, especially through sound’s ability to evoke the supernatural.