A Study On Artistic Expressive Force And Aesthetic Features Of Film Voice

Film voice, not only in the early days of sound motion pictures but also in the present situation, is the most important type of sounds in a film. So, to study film voice is theoretically and practically important. But, within the influence of the "vision-center" film aesthetic theory, the study on film sounds was far behind the study on film pictures, and the study on film voice itself was also far behind the study on voice's function and technique. Most of the former studies and analyses of film sound laid particular stress on film music and sound effects, but made light on the study of film voice. This situation did harm to the healthy development of film art. In this article, the author studied film voice, mainly discussed its artistic expressive force and aesthetic features. In the way of descriptively presenting arguments and limited inquiring, the author wanted to establish an idea of "sound-picture relative equilibrium", and wanted to find something new about film voice itself and its characteristics.The first chapter "Film voice: historical style and characteristics of discourse". By trimming classical film voice theories, the author found film voice was influenced by "vision-center" theory in aesthetic and creation. When analyzing the form of human voice in the film, the author regarded film voice as a unique discourse system and classified it into subcategories in order to make it have an equal theoretical status to film visual discourse system.Chapter Two "Film voice: space and time construction and imaginary signifier" roughly divided space and time activity of film voice into three aspects: story space-time, frame narrating space-time and theater space-time. Among them, narrating is the core value of film art. The reciprocal construction relationship between film voice and space-time in the film is based on the narrating space and time, which is the main place of their activities. During the inquiring about the reality of film voice, the author looked human voice as "imaginary signifier." From this angle, the realization of the voice signifier is mainly displayed as subjectified human voice rhetoric.Chapter Three "Film voice: sound-picture relationship and image construction". From the combination of sound and picture, the author inquired the balanced relationship between sounds and pictures, and underlined the role that human voice played in it to make voice exist side by side with pictures. Based on this, went up to image construction. It discussed that the hint function of film voice can produce visual-auditory image only by combination with picture motion.Chapter Four "Film voice: beauty of perception and thought of rationality". The author stated the release of the expressive force of film voice and its reality of semantic function gave expression to the esthetic sense of main body. The intrinsic quality of perception made film voice obtain the characteristics and value of communication. In the perceptual expression of film voice, special ideas changed into rational thought and released. But this is related to the outer adaptation of film voice.In the concluding part, the author looked into the future relationship between the truthfulness and fictitiousness of film voice, which is in the set of nowadays' digital technique.