在電影研究的範疇裡，「敘事涵」（diegesis）已然廣泛用於闡述聲音與敘事世界之間的關係：若能於敘事世界中明確覓得聲音來源，即劃歸敘事涵之中；反之，則排除於敘事世界之外，稱為「非敘事涵聲音」（non-diegetic sound）。電影學者郭柏曼（Claudia Gorbman）在其1987年出版的專著《未聽聞的旋律：敘事電影音樂》（Unheard Melodies: Narrative Film Music）當中，曾對此概念加以延伸，將牽涉影中人物回憶的音樂運用指稱為「後設敘事涵音樂」（metadiegetic music）。由於此概念欠缺擁有明確聲源的條件，使得後設敘事涵音樂即便存有特殊的敘事潛能，仍在是／非的二元分野中落為後者，意即被排除於敘事世界之外。然而，本文的觀看對象《藍色情挑》（Three Colours: Blue, 1993）（以下簡稱《藍》）影中的音聲使用，卻明顯地模糊化了前述的二元判定藩籬。

為了調和理論與實際觀影經驗之間的隔閡，本文藉由爬梳電影敘事涵的理論脈絡，兼採敘事學與音樂學觀點，以敘事涵乃作為一套具兼容與辯證性的動態系統為核心精神，探討《藍》當中電影音聲與劇情事件的敘事內容與呈現方式，如何有韻律地與視聽者的觀影歷程相互作用，甚至暗示劇中角色的心境。透過樂曲分析與文本分析研究方法，本文指出《藍》當中的音聲運用不僅止於一種回憶的標誌，而是能將其蘊涵的指引性意義滲透入劇中人物意識的底層，與表面的對白和影像共同敘事，產生競逐、牽引而至越位之主體性，音樂性地指出主角從自我囚困到湧動新生的過程。本文認為，《藍》縝密的敘事結構與超越二元壁壘的音聲設計，彰顯了音聲敘事涵對電影音樂性之認識，啟發視聽者深層共感《藍》的多重詮釋可能。

In the field of film studies, “diegesis” has been frequently used to describe the relationship between sound and the narrative world. If the source of the sound can be clearly found in the narrative world, it can be categorized as narrative content; otherwise, it is excluded from the narrative world and is referred to as “non-diegetic sound”. A film scholar, Claudia Gorbman, extended this concept in her publication Unheard Melodies: Narrative Film Music in 1987 and referred to the use of music involving the recollection of characters in the film as “metadiegetic music”. Since this concept lacks the condition of having a clear sound source, even if metadiegetic music has a unique narrative potential, it nevertheless falls into the latter in the binary field of yes/no, which indicates that it is excluded from the narrative world. However, the observation object of the present study is the use of sound in the film Three Colours: Blue (1993) (henceforth Blue), which has clearly blurred the aforementioned binary judgment barrier.

In order to reconcile the gap between the theory and practical viewing experience, this study adopted the perspectives of narratology and musicology and took diegesis as a set of compatible and dialectical dynamic systems to investigate the narrative content and presentation of sounds and plots in Blue, how to rhythmically interact with the audience's viewing process of the film, and even imply the state of mind of the character in the film. Through the methods of analysis in music and text, this study pointed out that the use of sounds in Blue is not only a symbol of memory, but can also immerse its implied meanings into the bottom layer of the character's consciousness in the film, and narrate it together with dialogues and images. The sounds in Blue also create the subjectivity of tension, traction and transcendence, musically highlighting the protagonist's mental process from self-imprisonment to a whole new life. Finally, the present study argued that the meticulous narrative structure and sound design of Blue that surpass the dualistic barriers, which demonstrate the understanding of the musical diegesis to the musicality of film, and inspire viewers to deeply empathize with various interpretation of the film Blue.

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網路資料
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