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“宇宙是一张未来的听觉空间图,我们虽然没有敏锐的目光,但有敏锐的耳朵。我们可以从一个非常广泛的范围内听到从任何一个方向,任何距离以外传来的声音。……而眼睛是有限的、定向的、在任何时刻都被局限在远远小于听觉世界一半的范围以内。耳朵是包罗万象的,对无限范围内产生的任何声音都始终是敏感的……。”这是美国信息传播理论家马歇尔·麦克卢汉于1960年在他与爱德蒙·卡本特合编的文集《通汛中的探索》中所写的一段话,它对于我这个年轻的电视导演影响很大,使我们在关注我们片子中丰富的视觉空间的同时、去探索和发现更为丰富的声音空间。1990年开始,我们在几部电视尉中开始采用实景同期录音,试图在片子中声音空间处理和视听空间的结合上做一些探索。主要的作品有《夏天不是好季节》(1991年,编剧:钱滨导演:毛卫宁录音:
“The universe is a futuristic auditory space figure, and although we have no sharp eyes, we have sharp ears and we can hear voices from any direction and from any distance from a very wide range .... The eyes are finite, directional, and at any moment confined to less than half the size of the auditory world. The ears are all-encompassing and always sensitive to any sound that comes in an infinite range .... ”This is The passage by American information dissemination theorist Marshall McLuhan in 1960, in his anthology “A Probe into Flooding” edited by Edmund Carpenter, has implications for my young television director Great, so that while we focus on the rich visual space in our films, we explore and discover richer sound spaces. Beginning in 1990, we began using real-time sound recordings in several TV presenters to try to explore the combination of sound processing and audio-visual space in the film. The main works are “Summer is not a good season” (1991, screenwriter: Qian Bin Director: Mao Weining recording: