中国无声电影解说员与听觉现代性  

Chinese Silent Film Narrators and Aural Modernity

作　　者：宋振华 Song Zhenhua

机构地区：[1]北京大学艺术学院 [2]东京大学美学与艺术学研究室

出　　处：《电影艺术》2025年第1期137-143,共7页Film Art

基　　金：2023年度国家社科基金艺术学重大项目“戏剧与影视评论话语体系及创新发展研究”(批准号:23ZD07)阶段性成果。

摘　　要：电影解说是中国无声电影时期值得关注的重要实践。经典的史观论述聚焦在视觉文化分析,认为电影解说员的目的仅是服务银幕,是声音技术不成熟的妥协之举。通过引入听觉文化的视角,并参照日本弁士的经验,可以看到解说员使中国无声电影成为一种视听综合、观众参与的剧场艺术,而广阔的声音景观则勾连出听觉现代性的议题。在此基础上对影戏观再考察,早期电影的研究亦需兼顾听觉文化,避免落入西方中心主义与视觉一元论的感官机制中。The role of narrators during the Chinese silent film era requires more critical attention.Traditional research on early Chinese film,which primarily focuses on the analysis of visual culture,has largely overlooked the aural dimension of cinematic experience,often treating film narrators merely as complements to the screen or as a partial solution to compensate for underdeveloped sound technology.Through the lens of auditory culture studies,this article draws on research on Japanese benshi and argues that emphasizing the role of narrators transforms Chinese silent film into a participatory theater that combines both the visual and the auditory.More importantly,the expansive soundscapes of early Chinese silent film highlight issues related to aural modernity.Additionally,the article reexamines yingxi theory and argues that research on early Chinese cinema should integrate auditory culture while challenging both Western-centrism and the visual-centric sensory experiences.

关 键 词：电影解说员 听觉现代性 弁士 声音景观 影戏 

分 类 号：J905[艺术—电影电视艺术]