数字时代中国纪录片的声景转向及其具身传播趋势  

The Soundscape Turn and the Embodiment Communication of Chinese Documentary in Digital Era

作　　者：孙健[1] 张书端 SUN Jian;ZHANG Shu-duan(Shanghai Documentary Academy,Shanghai University of Political Science and Law,Shanghai 201701,China;School of Journalism and Communication,Yangzhou University,Yangzhou 225009,China)

机构地区：[1]上海政法学院纪录片学院,上海201701 [2]扬州大学新闻与传媒学院,江苏扬州225009

出　　处：《编辑之友》2022年第3期69-74,共6页Editorial Friend

摘　　要：21世纪以来,在《舌尖上的中国》《我在故宫修文物》《航拍中国》等纪录片中,创作者精心设计解说词、音乐、音响等声音元素,为受众营造出一场场听觉盛宴。中国纪录片的声音景观转向是数字时代听觉文化复苏的一种表现。声音具有强烈的亲身性,它直接作用于身体,并以身体为媒介对受众产生内在心理影响。因而声景转向也正暗合了数字时代的具身传播趋势。当然,纪录片的具身传播绝非迎合观众的身体欲望,而是以声音景观唤醒受众的身体感知力,使之经由身体实现认知的提升和心灵的满足。In the 21st century,through elaborately designed commentary,music,sound and other sound elements,the creators create a feast of hearing for the audience,which includes A Bite of China,Masters in the Forbidden City,Aerial China and etc.The soundscape turn of Chinese documentary represents the revival of acoustic culture in digital era.The sound is intimating the body,which affects the body very directly,and has significant effects on human mind with the body functioning as medium.The embodiment communication of documentary doesn’t mean to cater to the desire of body.It is applied to awaken the perceptive function of human body,and thereby reaches to the sublime of emotion and the satisfaction of the soul.

关 键 词：数字时代 纪录片 声景 具身传播 

分 类 号：G206[文化科学—传播学]