《身体、电话、声音:黑色圣诞节》(1974)和《怪物电影院》

IF 0.1 0 FILM, RADIO, TELEVISION Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2021-11-01 DOI:10.2478/ausfm-2021-0012
M. Thomsen
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引用次数: 0

摘要

本文探讨了鲍勃·克拉克(1974)执导的《黑色圣诞节》中电话作为悬疑引擎和电影隐喻替身的作用。本文首先运用米歇尔·奇翁的有声概念,探讨了电话在创造叙事悬念和叙事衔接方面的作用。然后研究了电影是如何隐含地在电话和电影媒介之间建立了一种相似的模式,这种模式以它们的扩散和分离能力为中心。最后,本文探讨了其先前发现的元电影含义,认为黑色圣诞节中与电话相关的恐惧和焦虑最终涉及电影本身及其可能的文化影响。尽管它试图强化某些类型的知识和身份,但《黑色圣诞节》最终与电影颠覆而不是强化意识形态的能力有关。
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Body, Telephone, Voice: Black Christmas (1974) and Monstrous Cinema
Abstract This article investigates the role of the telephone as both an engine of suspense and a metaphorical double of cinema in Black Christmas directed by Bob Clark (1974). Employing Michel Chion’s concept of acousmatic voice, the article first explores the role of the telephone in creating both narrative suspense and diegetic cohesion. It then investigates how the film implicitly establishes a pattern of resemblance between the telephonic and cinematic mediums centred on their capacities for diffusion and disembodiment. Finally, the article explores the meta-cinematic implications of its preceding findings, arguing that the fears and anxieties associated with the telephone in Black Christmas ultimately concern cinema itself and its possible cultural impact. Although it attempts to enforce certain categories of knowledge and identity, Black Christmas ultimately engages with cinema’s capacity for subverting rather than enforcing ideology.
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