[C11T4P2]An Introduction to Film Sound
Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound.
尽管我们可能会认为电影主要是视觉体验，但是我们绝不能忽视电影中声音的重要性。
A meaningful sound track is often as complicated as the image on the screen, and is ultimately just as much the responsibility of the director.
一部有意义的电影的音轨经常和屏幕上的影像一样复杂，最终担负和导演一样大的责任。
The entire sound track consists of three essential ingredients: the human voice, sound effects and music.
整个电影音轨包含三个主要成分：人类声音、音效和音乐。
These three tracks must be mixed and balanced so as to produce the necessary emphases which in turn create desired effects.
为了创造重点并带来预期的效果，必须将这些音轨混合并做平衡。
Topics which essentially refer to the three previously mentioned tracks are discussed below.
下面将讨论参考之前所提及的音轨的话题。
They include dialogue, synchronous and asynchronous sound effects, and music.
它们包括对话、同声音效与异声音效，以及音乐。
Let us start with dialogue.
让我们从对话开始。
As is the case with stage drama, dialogue serves to tell the story and expresses feelings and motivations of characters as well.
正如舞台剧中的一样，对话用来讲述故事并表达人物的情感和动机。
Often with film characterization the audience perceives little or no difference between the character and the actor.
通常来说，由于电影人物塑造性，观众常常会认为人物和演员之间几乎没有区别。
Thus, for example, the actor Humphrey Bogart is the character Sam Spade; film personality and life personality seem to merge.
因此，演员，如Humphrey Bogart同时也是电影人物Sam Spade；电影人物和生活人物好像已经融合。
Perhaps this is because the very texture of a performer 's voice supplies an element of character.
或许这是由于表演者声音的特点在某种程度上造就了电影人物的某一方面。
When voice textures fit the performer 's physiognomy and gestures, a whole and very realistic persona emerges.
当声音结构与表演者的面相和手势一致时便会出现非常现实的人物。
The viewer sees not an actor working at his craft, but another human being struggling with life.
观众在作品中看到的并不是演员，而是另一个正与生活挣扎的人类。
It is interesting to note that how dialogue is used and the very amount of dialogue used varies widely among films.
我们会注意到有趣的一点：即如何使用对话以及每部电影中对话的数量变化很大。
For example, in the highly successful science-fiction film 2001, little dialogue was evident, and most of it was banal and of little intrinsic interest.
例如，非常成功的科幻片《2001》中对话很少，其中大多数都是很枯燥无聊、很少关于本质性的对话。
In this way the film-maker was able to portray what Thomas Sobochack and Vivian Sobochack call, in An Introduction to Film, the ' inadequacy of human responses when compared with the magnificent technology created by man and the visual beauties of the universe'.
通过这种方式电影制片人能够描绘出Thomas Sobochack和Vivian Sobochack在《电影介绍》中谈到的“同人类创造的华丽技术和宇宙的视觉美感相比，人物对话的匮乏”。
The comedy Bringing Up Baby, on the other hand, presents practically non-stop dialogue delivered at breakneck speed.
另一方面，喜剧《育婴奇谭》则不停地快速地呈现对话。
This use of dialogue underscores not only the dizzy quality of the character played by Katherine Hepburn, but also the absurdity of the film itself and thus its humor.
这里对话的使用不仅仅强调Katherine Hepburn所扮演人物的疯癫的特质，而且强调了电影本身的荒谬和幽默。
The audience is bounced from gag to gag and conversation to conversation; there is no time for audience reflection .
观众在一个个笑话和对话中度过；没有思考时间。
The audience is caught up in a whirlwind of activity in simply managing to follow the plot.
观众陷入旋风般的时间活动中只是为了能够跟得上故事情节。
This film presents pure escapism - largely due to its frenetic dialogue.
这部电影抨击了纯粹的逃避现实主义——大部分是通过其疯狂的对话来表达的。
Synchronous sound effects are those sounds which are synchronized or matched with what is viewed.
同声音效是指那些与被观看的内容同步或一致的声音。
For example, if the film portrays a character playing the piano, the sounds of the piano are projected.
例如，如果影片描绘正在弹钢琴的人物，那么就会出现钢琴的声音。
Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere.
同声音效促进影片的现实感，同时也帮助创造特定的氛围。
For example, the "click' of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience may only subconsciously note the expected sound.
例如，“咚咚”的开门声可能只是使观众相信描绘的场景是真实的，观众可能只是潜意识里注意到了预期的声音。
However, if the 'click' of an opening door is part of an ominous action such as a burglary , the sound mixer may call attention to the 'click' with an increase in volume; this helps to engage the audience in a moment of suspense .
但是，如果“咚咚”开门声代表凶兆的一部分，例如“盗窃行为”，调音台可能会以逐渐加强的音量来吸引观众对“咚咚”开门声的注意；这有助于为观众制造悬念。
We are probably all familiar with background music in films, which has become so ubiquitous as to be noticeable in its absence.
我们都很熟悉电影背景音乐，背景音乐在电影中无处不在，如果没有它，观众便会立即能觉察到。
We are aware that it is used to add emotion and rhythm .
我们意识到这些背景音乐是用来增强情感和韵律的。
Usually not meant to be noticeable, it often provides a tone or an emotional attitude toward the story and/or the characters depicted.
通常它们并不想引人注意，而是为故事或所描述的人物提供情感和节奏或对描述的故事或者角色的情感态度。
In addition, background music often foreshadows a change in mood.
除此之外，背景音乐预示着情感的变化。
For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster.
例如，影片中使用的刺耳的音乐可能是暗示恐吓或灾难的到来（但是还没有看见）。
Background music may aid viewer understanding by linking scenes.
背景音乐可能通过联系场景来帮助观众理解。
For example, a particular musical theme associated with an individual character or situation may be repeated at various points in a film in order to remind the audience of salient motifs or ideas.
例如，为了使观众想起欲突出的主题或思想，在影片不同时间点可能会重复使用与电影人物或情节相关的特定音乐主题。
Film sound comprises conventions and innovations.
电影声音包括惯例和创新。
We have come to expect an acceleration of music during car chases and creaky doors in horror films.
在汽车追逐场景和恐怖影片中出现诡异敲门场景我们会期望音乐声加速。
Yet, it is important to note as well that sound is often brilliantly conceived.
然而，同样重要的是，要注意到：声音通常是经过精密构思的。
The effects of sound are often largely subtle and often are noted by only our subconscious minds.
音效大部分是极其微妙的，通常只会被我们的潜意识思想所注意到。
We need to foster an awareness of film sound as well as film space so as to truly appreciate an art form that sprang to life during the twentieth century - the modern film.
为了真正欣赏20世纪涌现到生活中的艺术影片——现代电影，我们需要了解电影声音及其节奏。
