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上海大学学报(社会科学版) ›› 2023, Vol. 40 ›› Issue (1): 45-57.

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电影和瓦格纳式愿景 ——对声音设计和感官历史的思考

  

  1. 1.芝加哥大学 电影与媒介研究系，美国芝加哥 60637； 2.武汉大学 文学院，武汉 430072； 3.纽约州立大学 电影与媒体研究学院，美国纽约 91776
  • 收稿日期:2022-01-20 出版日期:2023-01-15 发布日期:2023-01-15

Film and the Wagnerian Aspiration —Thoughts on Sound Design and the History of the Senses

  1. 1. Department of Cinema and Media Studies, The University of Chicago, Chicago 60637, USA; 2. College of Chinese language and Literature，Wuhan University, Wuhan 430072, China; 3. School of Film and Media Studies, State University of New York, New York 91776, USA
  • Received:2022-01-20 Online:2023-01-15 Published:2023-01-15

摘要： 在美国电影《现代启示录》中，声音设计实践及环绕立体声技术的出现标志着瓦格纳式愿景的重新觉醒。这部绝对视听电影不仅是现代电影声音设计的里程碑，也是对技术、奇观和感官体验政治的持续反思。作者回顾了感官经验与声音设计历史，如19世纪感官技术构成集体感知装置的核心部分，使得人类感官与技术现代性相遇；1915年爱迪生通过一系列“声音测试”见证了留声机区别于现场表演的根本性变革；1958年，卡尔肖录制的唱片《莱茵的黄金》将声音再现与现场表演分离开，重建感官体验能力；1979年，电影《现代启示录》将声音再现从记录功能中分离出来，以虚拟感官经验取代人类实际经历世界，这也最终推动了“麻醉刺激”批评。

关键词: 《现代启示录》, 声音设计, 感官技术, 历史反思

Abstract: In the American film Apocalypse Now , the emergence of sound design as a practice and stereo surround sound as a technology signals the reawakening of Wagnerian aspiration. This resolutely audio-visual film is not only a landmark in modern sound design, but also a sustained reflection on the meaning of technology, spectacle and politics of sensory experience. The author traces the history of sensory experience and sound design: in the 19th century, sensory technologies became the central component of the collective apparatus perception, which allowed the human sensorium to encounter with technological modernity; in 1915, Edison’s series of “Tone Tests” witnessed the fundamental transformative phonograph as opposed to live performance; in 1958, Culshaw’s recording of Wagner’s Das Rhineland severed the finished representation from any real “original” performance, which restored the ability for sensory experience; In 1979, the film Apocalypse Now severed sound representation from a documentary function, replacing the world of actual human experience with prosthetic sensory experience, which eventually promoted the critique of “anesthetic impulse”.

Key words: Apocalypse Now, sound design, sensory technology, historical reflections

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