“书写-绵延”:中国无声电影时期的字幕(1931-1938)

“书写-绵延”:中国无声电影时期的字幕(1931-1938)

"Writing-Continuity": Subtitles in the Silent Film Era of Chinas (1931-1938)

作者: 李啸洋(北京电影学院，北京海淀100088)

关键词: 字幕;句法;预叙;听觉  Subtitles; Syntax;Pre-narration; Auditory

摘要:中国无声电影时的字幕，是一种阅读装置，它以图像化的形态嵌入电影中，进行叙事预设，发挥戏剧"幕"的说明作用。无声电影用字幕先构了影片的意义与节奏，字幕是对声音的想象与模拟。声音的缺失，使无声电影用"书幕语言"替代"视听语言"。全景式书幕以图像形态嵌入电影，传达语言观念，进行主题预叙。无声片的字幕旨在解决电影中叙事、情绪色彩和主题，字幕形成了电影"句法的顿歇"。字幕创造了声音的流动边界，"字幕-图像-书写"的三位一体与古典美学的互动，形成承接关系。无声电影的字幕是一种美学修辞，它既是电影的叙事分延，同时也替代听觉成为声音的量级标志。字幕以图像外观呈现，构成了"声音的听觉画框"。从叙事到氛围渲染，从对话到评价，无声电影时期的字幕彰显出独特的时代文化。

Abstract:  Subtitles in Chinese silent films functioned as a reading device, embedding into filmsin a visualized form to set up narrative assumptions and perform the explanatory role of dramatic"acts."Silent films constructed the film's meaning and rhythm through subtitles; subtitles are animagination and simulation of sound. The absence of sound led films to use "'written-actlanguage" as a substitute for "audiovisual language."Panoramic subtitles, embedded in films asvisual elements, convey language concepts and pre-narrate themes. The purpose of' silent filmsubtitles was to resolve narrative, emotional tone, and thematic issues in the film, formingcinematic "syntactic pauses."Subtitles created the flowing boundary of sound, forming a trinityof "subtitle-image-writing" and interacting with classical aesthetics,establishing a continuity. Thesubtitles of silent films are a form of aesthetic thetoric; they not only extend the narrative of the film but also serve as a substitute for auditory elements, marking the presence of sound.Presentedin a visual form, subtitles constitute a "visual frame for sound." From narrative to atmosphere,dialogue to commentary, subtitles in the silent film era reveal a distinctive cultural character ofthe time.

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