Learning to listen: histories of women's soundwork in the British film industry
Learning to listen: histories of women's soundwork in the British film industry
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学会倾听：英国电影业女性声音作品的历史
作者：
Bell M
在过去的二十年中，声音研究已成为电影学术的一个领域。声音理论（Elizabeth Weis、John Belton、Rick Altman）、说话声音（Michel Chion）和电影音乐（Claudia Gorbman）1 的早期著作随后进行了涵盖当代好莱坞声音、流派和声音设计的研究。 2 学者们对图像与声音的关系进行了理论分析，探索了受众和聆听模式，研究了新技术的影响并采访了声音从业者。不同历史时期的声音受到质疑，包括从无声到有声的转变、经典好莱坞时代以及 20 世纪 80 年代的新好莱坞电影。 2008 年的屏幕研究会议专门讨论“电影、电视和视频中的声音和音乐”，这证明了该领域的广度和多样性。性别问题如何影响这些辩论？有大量学术研究关注音乐如何促进电影的性别政治。 3 和言语问题成为 20 世纪 80 年代末女权主义电影研究的焦点，尤其是因为语言问题是第二波女权主义的核心关注点。 4 1988 年，卡贾·西尔弗曼 (Kaja Silverman) 的《声镜》(The Acoustic Mirror) 为电影配乐和性别差异研究提供了最早的持续理论之一。西尔弗曼认为，好莱坞配乐是“通过复杂的位移系统来性别化的，该系统将男性声音定位为明显的文本起源点，同时建立了叙事”
The study of sound has become established as a field of film scholarship over the last two decades. Early works on sound theory (Elizabeth Weis, John Belton, Rick Altman), the speaking voice (Michel Chion) and film music (Claudia Gorbman) 1 have been followed by research which ranges across contemporary Hollywood sound and genre and sound design. 2 Scholars have theorized the image–sound relationship, explored audiences and modes of listening, examined the impact of new technologies and interviewed sound practitioners. Sound in different historical periods has been interrogated, including the transition from silent to sound, the era of classic Hollywood, and the new Hollywood cinema of the 1980s. That the Screen Studies Conference in 2008 was devoted to ‘Sound and Music in Film, TV and Video’testifies to the breadth and diversity of the field.How have questions of gender shaped these debates? There is a significant body of scholarship that focuses on how music contributes to the gendered politics of a film; 3 and the issue of speech preoccupied feminist film studies of the late 1980s, not least because questions of language were a central concern of second-wave feminism. 4 In 1988 Kaja Silverman’s The Acoustic Mirror offered one of the first sustained theorizations in film studies of the soundtrack and sexual difference. Silverman argued that the Hollywood soundtrack was gendered ‘through a complex system of displacements, which locate the male voice as the point of apparent textual origin, whilst establishing the diegetic