电影发声:声音与影像的捉迷藏  

The Voice in Cinema: The Hide-and-Seek Game Between Sound and Image

作　　者：王敦[1] Wang Dun

机构地区：[1]中国人民大学文学院

出　　处：《电影艺术》2023年第6期136-142,共7页Film Art

基　　金：国家社会科学基金一般项目“听觉文化研究的话语建构研究”(批准号:18BZW009)阶段性成果。

摘　　要：米歇尔·希翁在其早期电影理论著作《电影所发之声》一书指出电影的声音与影像构成“捉迷藏”游戏。“所发之声”(voice)和“幻象式听觉”(acousmatic)是其电影声音理论的两个关键概念。这一思路通向对电影视听幻术深层机制的阐释。电影里的发声和聆听不仅是声音性的,而且是思维性和意识性的,是对自我意识的策动和引导。电影发声理论的阐释性价值因此并不仅仅局限于电影研究之内,还指向感知和思维背后的主体性建构问题。In his early book The Voice in Cinema(La Voix au cinéma), Michel Chion articulates that the cinematic sound and light form a “hide-andseek” game. The “voice” and the “acousmatic” become two key concepts to explicate such a hide-and-seek interplay. The cinematic voice is not present in the images of the screen, but exists as an absence. This observation paves the way for an investigation into the audio-visual mechanism in depth. The voice or voicing in cinema is not only a factor of the sonic, but also involves human subject's activities of cognizance, thinking, and consciousness. It serves as motor and guide to the Self. The “voice” and the “acousmatic” thus reveals and foregrounds the dimension of human subjectivity. The theory of the cinematic voice points to the construction of the Self that hides behind audio-visual experiences.

关 键 词：米歇尔·希翁 发声 幻象式听觉 主体性 

分 类 号：J905[艺术—电影电视艺术]