电影声音的文化蕴含與记忆延伸 ― 以王小帅“三线三部曲”《青红》《我11》《闯入者》为例

Abstract

For a long time, sound as a dimension of film art has been concerned and studied, focusing on the selection and combination of sound elements in the film, the relationship between sound and painting, aesthetic tendencies and artistic effects etc. The rise of the study of auditory culture promotes the study of sound in movies to have a new orientation and possibility, and because of the intentional emphasis on sound elements and cultural infiltration in many movies, auditory image has a different meaning, and then presents a more novel and unique role of cultural implication and memory extension than visual image. Wang Xiaoshuai’s Three Line Trilogy：Crimson Red (2005), I 11 (2012) and Intruder (2014), trying to evoke some sort of painful collective memory with the pain of individual life, and trying to reveal some kind of historical role that the ethnic group should have by refining the sound image, and further making the film a far-reaching but particularly true historical echo. Consciously using sound image make “Three Line Trilogy” to be a meaningful auditory landscape; The film also establishes the identity and spiritual background of the “three-line people” with special historical and cultural connotations; The Three Line Trilogy expresses the complex homesick feelings of “third-line people”, and considers the possible redemption of this group. To a certain extent, it forms an in-depth narrative about memory and reflection.