電影音聲研究的理論與實務
Theory and Practice in the Study of Sound and Music in Film
| 節 | 週二 |
|---|---|
7 15:30–16:20 | 電影音聲研究的理論與實務 HC501 3 節連堂 |
8 16:30–17:20 | |
9 17:30–18:20 |
* 根據陽明交大上課時間表所列
「聽見電影音效」:這裡的「音效」是相關語,不是單指電影三類音聲中,語音、樂音之外的噪音/環境音/音效 “sound-effect”,更是指它的效力;但這裡也不是要延續1880年Edmund Gurney的 _The Power of Music_,一本號稱科學性探討音樂美學的名著的路徑,而是要呼應作曲電影雙棲的 Michel Chion 於1990年所主張的,視電影為一種 “audio-vision”:「聽-看」、或說「聽-見」。的確,把電影只看為視覺藝術或視覺文化是不足的,因為就是默片時代也有現場配樂。再者,無形的音聲既避過眼睛理性的檢視而直通深層意識,但比起音樂會式的抽象聆聽,電影中的音聲卻又吊詭地結合所謂「眼見為實」“seeing is believing” 的作用,正是如虎添翼,效力無邊,也因此被政治或商業等各種意識形態所爭相操控。本課程就是希望透過更敏銳的探討「音效」,讓我們能夠更批判地「聽-見」電影。 本課程分三大單元:(1)基本概念、(2)電影理論與電影音聲研究(後殖民研究、女性主義、精神分析)、(3)台港電影範例分析、(4)理論與實務的反思。 N.B. 請注意本課標題為「電影音聲研究的理論與實務」,所謂「實務」是「研究的實務」,並不是創作或製作電影音聲的實務。然而批判思考亦必為創意提供美學與靈感 (criticism goes hand in hand with creativity)。
進階音樂分析以及英語閱讀能力
教材請參NewE3 週四IJK (18:30-21:20) 將安排八場電影觀賞與討論
分組文章導讀與電影導賞 (20+10=30%) Assignments 1-3 (10+15+20=45%) Assignment 4 (25%)
- 電影音聲的基本概念
- 電影理論與電影音聲研究
- 台港電影範例
- 理論與實務的反思
| 週次 | 主題 |
|---|---|
| 第 1 週 | Introduction: The Sound Track Reading: James Buhler and David Neumeyer, "The Sound Track and Narrative," in _Hearing the Movies: Music and Sound in Film History,_ 2nd ed. (New York: Oxford University Press, 2015), 9-33. |
| 第 2 週 | The Musicality of the Sound Track Reading: Buhler and Neumeyer, "The Musicality of the Sound Track," in _Hearing the Movies,_ 34-55. Thursday Screening: _A Brighter Summer Day_ (Edward Yang, 1991), 236 min. [!!!] |
| 第 3 週 | Film Sound and the Space of Narrative Reading: Buhler and Neumeyer, "Music, Sound, Space, and Time," in _Hearing the Movies,_ 56-87. Reading: Claudia Gorbman, _Unheard Melodies: Narrative Film Music_ (Bloomington, IN: Indiana University Press, 1987) 73-91. Assignment 1: Commutation Test ("Forced Marriage," 30-45 seconds film clip with 300 words report) Thursday Screening: _Happy Together_ (Kar-Wai Wong, 1997), 97 min. |
| 第 4 週 | Chion's Concepts and Terminology Reading: Michel Chion, "Audio-Vision and Sound," in _Sound,_ ed. Patricia Kruth and Henry Stobart (Cambridge: Cambridge University Press, 2000), 201-21. Reading: Chion, _100 Concepts to Think and Describe Sound Cinema,_ 2012. Thursday Screening: _Rabbit-Proof Fence_ (Phillip Noyce, 2002), 94 min. |
| 第 5 週 | Writing About Film Sound and Music Reading: Buhler and Neumeyer, _Hearing the Movies,_ 509-23. Assignment 2: Scene Analysis Paper (800 words) |
| 第 6 週 | A1 Postcolonialism 1 (育上、詠麟) Reading: Elsie Walker, _Understanding Sound Tracks Through Film Theory_ (New York: Oxford University Press, 2015) 89-136. Case Study: _Rabbit-Proof Fence_ (Phillip Noyce, 2002) Thursday Screening: _Ten Canoes_ (Rolf de Heer and Peter Djigirr, 2006), 90 min. [ntu-eth] |
| 第 7 週 | A2 Postcolonialism 2 (筱璇、曉涵) Reading: Walker, _Understanding Sound Tracks Through Film Theory_ 137-170. Case Study: _Ten Canoes_ (Rolf de Heer and Peter Djigirr, 2006) [ntu-eth] Reading: Robert Stam and Louise Spence, "Colonialism, Racism and Representation," _Screen_ 24/2 (1983): 2-20. |
| 第 8 週 | Reading Week |
| 第 9 週 | Assignment 3: Compare-Contrast Paper (1,500 words) |
| 第 10 週 | MONDAY Screening: _To Have and Have Not_ (Howard Hawks, 1944), 100 min. [ntu] B1 Feminism 1 (賢德、盈彤) Reading: Walker, _Understanding Sound Tracks Through Film Theory,_ 173-202. Case Study: _To Have and Have Not_ (Howard Hawks, 1944) Thursday Screening: _The Piano_ (Jane Campion, 1993), 121 min. |
| 第 11 週 | B2 Feminism 2 (佳恩、家華) Reading: Walker, _Understanding Sound Tracks Through Film Theory,_ 203-241. Case Study: _The Piano_ (Jane Campion, 1993) Reading: Laura Mulvey, "Visual Pleasure and Narrative Cinema," _Screen_ 16/3 (1975): 6-18. Thursday Screening: _Bigger Than Life_ (Nicholas Ray, 1956), 95 min. [ntust] |
| 第 12 週 | C1 Psychoanalysis 1 (易珊、友均) Reading: Walker, _Understanding Sound Tracks Through Film Theory,_ 245-285. Case Study: _Bigger Than Life_ (Nicholas Ray, 1956) [ntust] Thursday Screening: _Shutter Island_ (Martin Scorsese, 2010), 138 min. |
| 第 13 週 | C2 Psychoanalysis 2 (易洵、文心) Reading: Walker, _Understanding Sound Tracks Through Film Theory,_ 286-322. Case Study: _Shutter Island_ (Martin Scorsese, 2010) Reading: Todd McGowan, "Looking for the Gaze: Lacanian Film Theory and Its Vicissitudes," _Cinema Journal_ 42/3 (2003): 27-47. |
| 第 14 週 | Writing Week |
| 第 15 週 | Review, esp. on Psychoanalytical Film Theory (Richard Allen, Todd McGowan) |
| 第 16 週 | Writing Week |
| 第 17 週 | Assignment 4: Critical Essay (2,500 words) |
| 第 18 週 | Conclusion |
Buhler, James, and David Neumeyer. _Hearing the Movies: Music and Sound in Film History_. 2nd ed. New York: Oxford University Press, 2015. Chion, Michel. _Audio-Vision: Sound on Screen_. Translated by Claudia Gorbman. New York: Columbia University Press, 1994. Walker, Elsie. _Understanding Sound Tracks Through Film Theory_. New York: Oxford University Press, 2015 每週另備相關文獻在NewE3。
- 地點
- HC513
- 時間
- 3X (12:20-13:10): 請預約
- 聯絡方式
- kam@nctu.edu.tw