多重场面调度:《猎手之夜》中的偶得声音在克拉尔《白昼月光》和戈达尔《电影史》中的运用

Multiplying Mise-en-Scène:Found Sounds of The Night of the Hunter in Lewis Klahr’s Daylight Moon and Jean-Luc Godard’s Histoire(s)du cinéma

音乐是电影场面调度中的重要元素(“场面调度”指将观众带入电影世界的多重感官介面)。借鉴和发展米歇尔·穆赫雷(Michel Mourlet)“轮廓理论”(contour theory),来分析声音质地、震动和节奏等听觉元素如何产生与光、影、演员动作等为人熟知的视觉元素类似的影响。传统上,对音乐主题动机(leitmotif)的分析把旋律和孤立的影像符号相对应;然而在轮廓理论中,观者感受到的是连缀成线的场景调度元素,从而极大丰富了影像与情感之间的关系。为证明这一分析手法的有效性,特选取查尔斯·劳顿执导的《猎手之夜》及两部运用了该片视听材料的后作,即让-吕克·戈达尔的《电影史》与刘易斯·克拉尔的《白昼月光》。虽然《猎手之夜》作为故事片支持由主题动机切入的解读方式,但是它的配乐却像实验电影的声音一样拒绝简单直接的音画对应。轮廓理论通过分析音画叠加,使场面调度有了更多可能性。

This essay situates music as a crucial catalyst in a film’s mise-en-scène(the multisensory interface that pulls spectators into films’worlds).Developing a contour theory of mise-en-scène inspired by Cahiers du Cinéma critic Michel Mourlet,I track how sonic textures,vibrations,and rhythms have similarly palpable effects to the oft-cited visual elements of lights,shadows,and actors’gestures.Whereas standard analyses of leitmotifs match melodies with single icons,contours multiply figurative and emotional associations as spectators see and hear the seams between mise-en-scène elements.To demonstrate this approach,I closely analyze The Night of the Hunter(Charles Laughton,1955)and two films that appropriate its audio-visual material:Jean-Luc Godard’s Histoire(s)du cinéma(1998)and Lewis Klahr’s Daylight Moon(2002).While the former narrative film could be read through leitmotifs,its non-diegetic sounds thwart straightforward correlations,like the experimental films’found sounds.A contour theory multiplies mise-en-scène with audiovisual superimpositions.