이미지 없는 목소리, 아쿠스메트르에 대하여

• 영문명: Voice without Image, and Accousmetre: Focusing on Voice of a Murderer and Voice
• 발행기관: 한국영화학회
• 저자명: 정민아
• 간행물 정보: 『영화연구』제35호, 191~212쪽, 전체 22쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2008.03.31

영문 초록

Even though film was born without sound, sound has been in company with film exhibition. Because live music has been played, or explicateurs have stated stories even during the silent film era. In addition, voices of silent film have been in company with characters. Audiences have seen the voices by lips-movement of characters before insert titles. Audiences could paradoxically hear with their eyes, even if they could not hear with their ears. Nevertheless, film history so far has mainly focused on image, visuality and spectacles. In comparison, it is hardly to be said that the sound study in film has been actively proceeded. I will firstly scrutinize the sound theory of Michel Chion, who is one of the first theorist studying sound's characteristics over image in film, to analyze and discuss characters' voices without a perfect image-entity on the screen. Therefore I use Chion's original terms such as to read the implied meanings of Voice of a Murderer(2006) and Voice(2005), in which voices as characters in films drive narratives.

목차

1. 들어가는 말

2. 영화의 사운드: 음성 중심주의, 청각적 거울

3. 아쿠스메트르와 이미지 없는 목소리

4. 목소리, 리듬, 음악의 탈영토화

5. 나오는 말

키워드

sound image voice acousmatic acousmtre synchresis vococentrism acoustic mirror music territorialization