論貝拉‧巴拉玆的沉默概念，或緘默影音美學的誕生

三Ο年代有聲電影的出現，一些導演一反常態地以「沉默」構製影音。匈牙利電影理論家貝拉‧巴拉玆(Béla Balázs)亦對之思考出三個沉默的概念。尤其，巴氏第三個沉默概念，不僅奠立了討論沉默影音美學的理論基礎，更是為後來的「緘默」影音美學（即影片中由始至終都不說話的人物）埋下了探討的重要基石。沉默與緘默影音美學的誕生，自西方現代主義電影（佛烈茲‧朗、柏格曼）到當代電影（蔡明亮）以來，就從沒停止過。針對此一課題，本論文擬探問電影的沉默與緘默的本質性意涵，及其美學的差異性等問題。這幾個實質性問題，除了有助於進一步釐清有聲電影中沉默與緘默的影音表現外，更是得以建構出相關的美學形式與內涵，並描繪出緘默影音的影片族譜。

關鍵字

有聲電影；貝拉‧巴拉玆；沉默；緘默；相異性；他者性

並列摘要

The invention of talking pictures in the 30's inspired a few directors, converted with the mainstream, to film in silence. Hungarian film theorist Béla Balázs also proposed his three concepts of silence on this issue. His third concept of silence not only established the theoretical ground for discoursing on the aesthetics of silent cinematography, but also settled a milestone for the later development of discussion on cinematic mutism, which the characters in the film keep mum all the way. Since the beginning of silent film and cinematic mutism, it has been lasting from the Western modernism films (e.g. Fritz Lang and Ingmar Bergman's films) to the contemporary cinema (e.g. Ming-liang, Tsai's cinema). To this issue, this thesis aims to study on the substantial significance of the silence and mum of the film, and the questions of its aesthetical alterity. These essential questions could be able to help the audience understand the expressions, construct the relative connotations and aesthetical forms, and depict the genealogy of cinematic mutism.