武俠片聲音規則之運用以胡金銓【大醉俠】與李安【臥虎藏龍】為例

Utilizations of Voice Rules in Martial Art Movies Comparison of King Hu's Come Drink with Me & Ang Lee's Crouching Tiger Hidden Dragon

戴寧(Ning Tai)

《廣播與電視》 27期 (2006/07) Pp. 113-134

https://doi.org/10.30385/JRTS.200607_(27).0005

摘要

有鑑於傳播研究重影像輕聲音已行之多年，且武俠片猶是一塊亟待深耕的領域，本文從聲音與影像結合的角度切入，探討武俠片如何同時運用以上兩者以達成傳播效果。研究發現武俠片以「聲音劇情與畫面劇情同時」以及合乎「聲音透視法」、「時空特性」之聲音處理，營造武俠片的真實感。另以「聲音劇情與畫面劇情非同時」之手法處理非寫實的回憶片段，藉以和其他真實劇情區隔。此外，刻意安排無聲的使用或是以音樂營造氣氛、描摹角色情感，帶領觀眾進入虛幻神奇的武俠國度。

關鍵字

大醉俠 ； 電影 ； 聲音 ； 臥虎藏龍

並列摘要

With a view that the focus of communications studies has been on the imagery, rather than voice, and that martial arts films are very little studies, this research paper delved into the topic by examining the combinations of voice and imagery, and explored how martial arts films use both voice and imagery to create communications effects. This research paper found that martial arts films create the sense of realism with the synchronization of voice drama and image drama and the combination of voice perspectives and time/space perspectives in the processing of voice effects. Meanwhile, martial arts films use an asynchronous approach in dealing with voice drama and imagery dram in order to create non-realistic memory shots, so that the past tense does not mixed up with the present tense of the drama. Meanwhile, martial arts films deliberately arrange the use of silence or music to create an atmosphere and to depict the emotions of characters, in order to bring the audience into the magic and fascinating world of martial arts.

並列關鍵字

Come Drink with Me ； movies ； sounds ； Crouching Tiger and Hidden Dragon

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