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Scope¬°^°ê¿Õ¥Å¨u¤j¾Ç(University of Nottingham)¹q¼v»P¹qµø¬ã¨s¤¤¤ß(Institute of Film & Television Studies)ªº¤@¥÷½u¤W¾Ç³N©u¥Z¡C°£¤FÄYÂÔªº¾ÇªÌ»P¼vµû¤H¾á¥ô½s¿è¸s¥Hºû«ù¥Zª«ªº¾Ç³N¤ô·Ç¤§¥~¡A³o¥÷©u¥Z¤]§Æ±æÀç³y¤@Ó³õ°ì¡AÅý¹q¼v¬ã¨sªº·s¶i¦¨û̱o¥H¦³¤@¶é¦aµoªí§@«~¡C³o¹ï©ó¦³§Ó±q¨Æ¹q¼v¬ã¨sªº¾Ç¥Í̦Ө¥¡AScope¤£³×¤@Ó¥i¥H¦Ò¼{µoªíªº¦a¤è¡C
2006¦~¤C¤ë¥÷¥X¥Zªº²Ä¤´ÁScope¡A±À¥X¤F¡uÁnµ¡v(sound)±M¥Z¡C¨÷º¥¨§@¡q¸j¦n§Aªº¦w¥þ±a¡A½Ý°_§Aªº¤j¦Õ¦·¡G¹q¼v¤¤À¸¼@¤Æªº¤HÁn¡r(Fasten Your Seatbelts and Prick Up Your Ears: The Dramatic Human Voice in Film)¤@¤å¤¤¡AMartin Shingler½T¹ê±a»â¤FŪªÌªº¦Õ¦·¡A¸g¾ú¤@³õ¹q¼v¬ã¨s¡uÁnµÂà¦V¡vªº«_ÀI¡CShingler ¥H¾Ç³NµûªRªºµ§ªk¡A±q®e¹ð±Ô¤@¬q¹ï©ó¹q¼vÁnµ¤§¬ã¨sªº¤p¥v¡C³o¬O¤@½g·¥¨ã±Òµo©Ê©M¯Á¤Þ©Êªº¤å³¹¡C·í¥NµØ»y¹q¼v¬ã¨s¤¤µ¼Ö»P¶m·T¬Fªv¾ÇªºÃìµ²¡A¦b³o½g¤å³¹¤¤¶Õ¥²¥i¥HÅ¥¨£¤@¨Ç¹ñ·sªº¡Bªï¦V¥¼¨ÓªºÁnµ¡C¦Ó¥xÆW¤w¸g³sÄò¨â©¡ªº¡uÁnµ¼v®i¡v¡A°£¤F¥H^¬ü·nºu¼Ö¦W¤H¬ö¿ý¤ù¬°¥D¥´¡B¤Þµoªº¬Oµ¼Ö°é¼g§@ªÌªº¤¶²Ð»Pµû½×¤§¥~¡A¤]¦ü¥G©|¥¼¤Þ°_¹q¼v¬ã¨s»â°ì¤¤¹ï©óÁnµªº«·s«ä¦Ò¡C
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Michel Chionªº±M®Ñ¡mThe Voice in Cinema¡n(1982)¡A¯d·N¨Ã¥B°Ï¿ë¥X¹q¼v»y¨¥¤¤ªº¡u®Ç¥Õ¡v(voice-over)»P¡uµe¥~µ¡v(voice-off)¡C«eªÌ³q±`¬°¹q¼vªº±Ô¨ÆªÌªºÁnµ¡A¦Ó«áªÌ«h¬Oµe®Ø(frame)¥H¥~ªº¤HÁn¡F¦¹¤GªÌ¨ú¨M©óÆ[²³¯à§_¦bµe±¤W¬Ý¨£¤HÁnªº¨Ó·½¡C¦¹¥~¡A¥LÁÙ´yz¤F¦ó¬°¹q¼v¤¤ªº¡u¥À©ÊÁnµ¡v(maternal voice)¡AÃþ¦ü©óÀ¦«Ä¦b¤l®c¤º©ÒÅ¥¨£ªº¥À¿ËÁnµ¢w³o§Ï©»©IÀ³¤F±N¹q¼v°|Áô³ë¦¨¬f©Ô¹Ïªº¬}¥Þ(cave)¥H¤Îìªì³õ´º(primal scene)ªº»¡ªk¡C Kaja Silverman©ó1988¦~¥Xª©ªº¡mThe Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema¡n«h«·s¼fµø³oÓ¡u¥À©ÊÁnµ¡vªº·§©À¡A»{¬°¥¦¨ä¹ê¬O¹q¼v¡Bºë¯«¤ÀªR¡B©M¹q¼v²z½×¤¤ªº¨k©Êfantasy(¤ÛÅ¥?)¡C Laura Mulveyªº¡qVisual Pleasure and Narrative Cinema¡r(1975)¬Oºë¯«¤ÀªR¨ú¦V¹q¼v¬ã¨s¤¤ªº¸g¨å½×¤å¡G±q¡uÆ[¬Ý¦ì¸m¡vªº¤ÀªR¨Ó´¦¥Ü¥X¥j¨å¦nµÜ¶õ¹q¼v¤¤¹ï©ó¤k©Êªº¤÷Åv¾®(male gaze)¡CSilverman©µÄò¤FMulveyªº¤k©Ê¥D¸q½×ÃÒ¡Aµo²{¤F¡G¦nµÜ¶õ¹q¼v¤¤¡AÁ`¬O¤£¤½¥¦aÅý¨k©Ê¾á¥ô±Ô¨Æ®Ç¥Õ¥H¤Îµe¥~µªºµoÁnªÌ¡A¦Ó¤k©ÊªºÁnµ«h»P¿Ã¹õ¤W(³Q¾®µøªº)¤k©Ê¨Åé¦P®É¦b³õ»P¬Û³s¡A¬Æ¦Ü¤k©Ê¥u¬O¨IÀqµÛ³Q¾®µø¡C¤§«á¡AMary Ann Doaneªº¤å³¹¡qThe Voice in the Cinema: The Articulation of Body and Space¡r(1980) ¤]©µÄò¤F¥Hºë¯«¤ÀªR¤Á¤J©Ê§OijÃD»P®Ç¥Õ¡Bµe¥~µªºÃö«Y¡A¶i¦Ó®i¶}¤F¹ï©ó¦nµÜ¶õ¹q¼v¤¤¤÷Åv·NÃÑ«¬ºA(ideology)»P½×z(discourse)ªº§å§P¡C±qChion¡u¥À©ÊÁnµ¡vªº·§©À¥Xµo¡ADoane»{¬°¡A°£¤Fµøı´r®®(visual pleasure)¤§¥~¡A¹q¼vÁÙ´£¨Ñ¤Fťı´r®®(auditory pleasures)¡A³o¬OÀ¦¨à¦b¥À¿Ë¤l®c¤º©Ò·P¨ü¨ìªºÅ¥Ä±¤Wªº¾Ö©ê¡FµM¦Ó¡A¥H¤÷¿ËÁnµ¬°§Î¦¡ªº¥ì©³©¬´µ±¡¸`(Oedipal scenario)¡A±j¨î¤¶¤J¤F¥À¿Ë©Òµ¹¤©ªºÅ¥Ä±´r®®¡A¤÷¿ËªºÁnµ¥¿¦p¥Lªº¸T¥O¤å¦r¡A§êºt¤F¼¹µõ¥À¤l¦bťı´r®®¤¤±o¥H¿Ä¦Xªº¨¤¦â(agent of separation)¡A¨Ï±o¥À¿Ë¤§Án³Q®øµ¡A¦¨¬°¥Ã»·¥¢¸¨¡B¥ÃÃø«ªðªº¼¤±æ¹ï¶H¡C¦¹¤÷¿ËÁnµªº«I²¤©Ê»PÀ£¨î©Ê¡A¤]ªí²{¦b¹q¼v§Þ³Nªº¼h¦¸¤W¡G§ù¤ñµÅT(Dolby)ªº°l¨D¡A´N¬On±Æ°£¨º¨Çº¾¸H°¸µM¡B¡uµL·N¸q¡v¡B»P±Ô¨ÆµLÃöªºÂøµ(noise)¡A¨Ï±o¹q¼v¤¤ªºÁnµ±o¥H¡u¯Â¤Æ¡v»P¡u§¹¬ü¤Æ¡v¡C
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«á°_ªº¤@¨t¦C¬ã¨s¡A¸õ²æ¥X¤Wz¨ººØ²z½×¾Þ§@ªº§x¹Ò¡A°£¤F°w¹ï¹q¼v¤å¥»¶i¦æ¤ÀªR¤§¥~¡AÁÙ¥H¥Ð³¥±Ä³Xªº¤è¦¡¡A¹ê¦a²`«×³X½Í¤F¹q¼v²{³õ¤¤ªº§Þ³N±M®a¡CGianluca Sergi ªº¤å³¹¡qActors and the Sound Gang¡r(1999)¥H¤ÎDavid Sonnenscheinªº±M®Ñ¡mSound Design¡n(2001)¡A¥i¥H§@¬°³o¤@ªi³]©w·sijÃD¡B¶}®i·s¤è¦Vªº¥Nªí¤§§@¡CSonnenscheinÂà¦Ó¬ã¨sÁnµ¥»¨ªº½è¦a¡G¥]¬A¤FÁnµªºÃý«ß(rhythms)¡Bµ½Õ(tones)¡Bµ°ª(tones)¡Bµ¦â(timbre)¡Bµ¶q(volume)¡B¥H¤Î»¡¸Üªº³t«×µ¥µ¥¡CµM¦Ó¡A¦¹¤@¬ã¨sªº¨î¦b©ó¡A¥u¯à®¿¥Î¬J¦³ªºµ¼Ö³N»y(musical terminology)¨Ó´yz³o¨Ç¤HÁnªº²Ó·L®t²§¡A¯Ê¥F¤@®M§ó¬°²Ó¿°¡BÂ×´Iªº»y·J¥h¿ë»{¨º¨Çnon-musicalªºÁnµ¡C¦¹¥~¡A¹ï¥Õ¥y¤l¤¤ªº¡u¥Àµ/¤lµ¡vªºÃö«Y¡A¦p¦ó³Qºtû©Î©ú¬P©Ò¨Ï¥Î¡Bºtö¡A¤]Äݩ󦹤@¬ã¨s¯ßµ¸¤¤ªº·s¤è¦V¡C¥¿¦pMartin Shingler¦b³o½gµû¤¶¤å³¹ªº¶}ÀY¡A¬°¦¹¡u¥Àµ/¤lµ¡v¬ã¨s¨ú¦V°µ¤F¤@¬qºëªöªº¥Ü½d¡C¥LÂÔ¤p·V·L¦a¿ÍÅ¥¡B¥H¤Î¡u³v¦r³vµ¸`¡v¥h¤ÀªR¡m±k¬P¬ü¤H¡n(All About Eve,1950)¤¤¡A¤k¥D¨¤¨©¸¦À¹ºûµ·(Bette Davis)¦p¦óµo¥X³o¤@¸g¨å¦W¥y¡G¡u¸j¦n§Aªº¦w¥þ±a¡A³o±N·|¤@Ó°ª¼é°_¥ñªº©]±ß!¡v(Fasten your seatbelts, it's going to be a bumpy night!)¦p¦¹¤@¨Ó¡A¹q¼vÁnµªº¬ã¨s¤]ÀH¤§¶i¤J¤F¡u©ú¬P¬ã¨s¡v»P¡uÃþ«¬¹q¼v¬ã¨s¡v¡C¦nµÜ¶õªº¤j©ú¬PÌ¡A¥]¬Aº¿¼wµYÀ¹¼w²ú(Marlene Dietrich) ¡B³Í§Q¸¯Û(Cary Grant)¡B ¨©¸¦À¹ºûµ·(Bette Davis)¡Bº¿ÄR½¬¹ÚÅS(Marilyn Monroe)¡B¥î}¦ãÛ(Woody Allen)³£¦³¥LÌ¥Rº¡¯S¦â¡B©ö©ó¿ë»{ªºÁnµ¡F¦]¦¹¡A¡uÁnµ¡v¦p¦ó»P¤w¸g¦³¤Fªø´Á¬ã¨s¶Ç²Îªº¡u©ú¬P§Î¶H¡v(star image)¬Û¤¬ºc³s¡A¤]¦¨¬°¤@Ó¥Dn½ÒÃD¡C ³oºØÁnµ-§Î¶HªºÃö«Y¡A¨ä¹ê¦´Á¦nµÜ¶õ¹q¼v¤¤¡A´N¤w¸gÅã¥Ü¥X¥¦ªº«n©Ê(¥u¬Oª½¨ìªñ¤Q¦~¤~Àò±oÆf¥Ø)¡G¹q¼v¥v¤Wªø´Á©~©ó±Æ¦Wº¦ìªºÀY¸¹¡u¹q¼v¤j°ê¥Á¡v¶ø´Ë«Âº¸´µ(Orson Welles)ªºÁnµ¡A³ºµM¥i¥HÅý¤õ¬P¤H¶i§ð¡BÀ~¶]¦a²y¤H¡A¦ÓJudy Holliday¦b¡m¸Uªá¼^¬K¡n(Singing In The Rain)¡A¤]¥H¦oªºÁnµªíºt¼Ð¥Ü¥XÀq¤ù®É¥Nµ²§ô¡B¦³Án¤ù¶}©lªº¹q¼v¥vÂà§é¤¤¡Aºtṳ̂£±o¤£¾ú¸g¤@¦¸´d³ß¼@ªº±¡½Õ¡A¦oªºÁnµ¤]Åé²{¤F¤ù¼tÁnµ§Þ³N¦bª«½è¤å¤Æ¥v¤Wªº¤@¦¸Â_µõ¡C¬JµMµL§ÎµLÅ骺Ánµ¡A¤]¦³¥¦¦Û¤vªºª«½è¤å¤Æ¥v(history of cultural materialism)¡A¨º»ò¡AÁnµªº¡uª«½è©Ê¡v©M¡u§Þ³N©Ê¡v¤]¦b·s¬ã¨s¤¤¯B²{¤F¡CÆ[²³¦b¹q¼v°|¤¤©ÒÅ¥¨£ªº¨C¤@Ó©ú¬Pªº¤HÁn(voice)¡A±q¨Ó³£¬O³QÁnµ§Þ³N©Ò¤¤¤¶¹L¡B§ï³y¹Lªº(techno-mediated voice)¡C¹q¼v»s§@¹Î¶¤ªºµ®Ä¤p²Õ¡A¨ä¹ê¨M©w¤F«á¨ÓÆ[²³©ÒÅ¥¨ìªº©ú¬P¤HÁn¡F§Ú̱q¨Ó³£Å¥¤£¨ì¯u¥¿ªº¡B¯Âºéªº¤HÁn(pure film voice)¡C¦¬µ³Á§J·©ñ¦bþ¸Ì¡B¡u¤p»e¸Á¡v§O¦b©ú¬Pªº¦ç»â¤W©ÎªÌ³S¤l¤W¡B¬Æ¦Ü¬OÁôÂóÁ§J·©ÒÂ\©ñªº¨¤«×¡A³£·|¼vÅTÆ[²³©ÒÅ¥¨£ªº¤HÁn¢w³o¨ÇÁnµ¸Ë¸m°£¤F¯à°÷×¹¢©ú¬P§Î¶H¡B¬Æ¦Ü·|¼vÅT¨ìÆ[²³»P©ú¬P¤§¶¡©Î¿Ëªñ©Î²¨Â÷ªº»{¦PÃö«Y¡C©çÄá¹Lµ{¦p¦¹¡A¹N½×«á»s¶¥¬q¹ï©óÁnµ§Þ³NªºÊ«¡C§â©çÄá¹Lµ{Ä~Äò©¹«e±Àªº¸Ü¡AŪ¼@¥»¶¥¬q®É¾Éºt»Pºtûªº¤¬°Ê¡A¤]¤¶¤J¤F©ú¬PÁnµªº²£»s¡C¦¹¥~¡A¤j©ú¬PªºÁnµªñ¦~¨Ó¦p¦ó¬°¤@¨t¦C¥d³q°Êµe¤ù¶i¦æ°tµ¤u§@(dubbing)¡A¥H¤Î¦¹¼é¬yI«á©Ò¯A¤Îªº¦æ¾Pµ¦²¤¡B©ú¬P§Î¶H»PµêÀÀ¥d³q¤Hª«(¦h¥b¬O°Êª«)¤§¶¡ªº¯u¹ê/µêºc¡B¤H»P«D¤Hªº·NÃÑ«¬ºAÃö«Y¡A¤]¶}©l¤Þ°_¤F¬ã¨sªÌªºª`·N¡C
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SCOPE¹q¼v©u¥Z2006¦~¤»¤ë¸¹¡qÁnµ±MÃD¡r¡G
http://www.scope.nottingham.ac.uk/issue.php?issue=5
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