臺灣博碩士論文加值系統

在電影音樂的研究領域裡，美國導演大衛林區運用音樂的方式一直備受矚目，一些學者指出，他運用音樂的方式，無法被傳統分析中定義音樂與故事世界關係的方式 — 亦即用劇情音樂、非劇情音樂界定的途徑所定義，而林區也藉由音樂，將劇情與非劇情間的模糊地帶加以強化。然而，由於缺乏更進一步的結構性分析，這些研究並沒有清晰指出音樂元素是如何在這過程間發展的。在本論文中，我將結合和聲與音色的分析，與克勞蒂亞・郭柏曼(Claudia Gorbman)、米歇爾・西昂所開發的方法，探索林區在影音結構上所達到的成就。我選擇林區的《內陸帝國》(Inland Empire, 2006)作為我的研究對象，這是因為這部電影有著特別的聲軌製作背景。在這部電影中，許多場景源自於導演自己創作的音樂，而這些音樂也構築出特別的電影空間，來讓觀眾迷失在現實與虛幻的迷宮當中。我會試圖以下列兩個議題來探索：(1) 音樂空間與敘事空間。我將探索觀眾如何基於對音樂結構的感受，想像出專屬於聲響的空間。(2) 音樂的詛咒與詛咒的音樂。我將採取不同的分析途徑，去探索詛咒 —這個電影中的核心動機— 是如何透過林區創作的音樂來展現其自身的力量。我希望我能發現音樂如何連接不同電影空間、如何造成時空的不穩定、如何造成劇情與非劇情間的模糊、以及如何對以虛實交錯為主題的敘事結構造成影響。

How American director David Lynch uses music in his film has been popular in film music research area. Some scholars mentioned that his music challenged the traditional path, diegetic and non-diegetic music, which defined the relationship between music and the world in story, and they showed that music emphasized the blurring space between these two zones. However, these investigations didn’t show us clearly how music works in this blurring space because these discussions need more structural analysis to present the process which musical elements develop. In this thesis, I combined the analytic methods in harmonic and timbre, and the methods developed by Claudia Gorbman and Michel Chion to explore the structural achievement Lynch made in his film. Lynch''s Inland Empire was selected to as a research subject due to the special background in soundtrack production. In this film, many scenes arose from the music which the director composes, and this music creates a special cinematic space to let the characters get lost in the labyrinth of dream and reality. I investigated through the following two topics : (1) Musical space and narrative space： To explored how the sonic space imagined by spectators based on the feeling of musical elements, and explore how this imagined sonic space participates in the construction of cinematic space. (2) Musical curse and cursed music： By taking different approaches in analysis to explore how the curse, the core motive in the film, shows its power through musical space created by Lynch. I discovered how music connected with various places in film, causing the instability in time and space, blurring the boundary between diegetic and non-diegetic music, and making the impact on the narrative structure in the theme of illusion-reality.

目錄
圖目錄………………………………………………………………………………V
表目錄………………………………………………………………………V
譜例目錄…………………………………………………………………………VII
第一章……………………………………………………………………….…1
1.1 研究源起、動機、目的……………………………………1
1.2 文獻回顧…………………………………………………………………2
1.2.1電影敘事空間相關研究………………………………………2
1.2.2 林區的音樂觀點………………………………………………4
1.2.3 電影音樂的敘事…………………………………………………5
1.2.4 音樂與電影共構的敘事空間…………………………5
1.2.5 劇情、非劇情間的模糊地帶……………………………13
1.3 研究方法與材料…………………………………………………….16
1.3.1研究材料………………………………………………………….16
1.3.2 研究方法…………………………………………………………18
1.4 論文架構………………………………………………………………18

第二章…………………………………………………………………………20
第一節 妮姬電視劇…………………………………………………21
2.1.1 妮姬電視劇第一階段…………………………………21
2.1.2 妮姬電視劇第二階段…………………………………24
2.1.3 妮姬電視劇第三階段……………………………………29
第二節 波蘭電視劇、兔子電視劇、與三齣電視劇的整合……………44
2.2.1波蘭電視劇…………………………………………………………… 44
2.2.2 兔子電視劇………………………………………………………………48
2.2.3 三齣電視劇的整合…………………………………………51

第三章…………………………………………………………………………54
第一節 音樂與敘事……………………………………………………………………54
3.1.1 妮姬電視劇之前的音樂…………………………………………………54
3.1.2 妮姬電視劇第二階段第一部份音樂……………………………………57
3.1.3 妮姬電視劇第二階段第二部份音樂……………………………………59
3.1.4 妮姬電視劇第三階段音樂與外遇主題音樂…………………………….61
3.1.5 妮基與潘德瑞茲基的音樂………………………………………………66 3.1.6 妮姬電視劇以外的音樂…………………………………………………………76

第二節 音樂的空間性…………………………………………………………………83
3.2.1 Rabbit Theme分析………………………………………………………84
3.2.2 Fluorescenes 分析……………………………………………………86
3.2.3 The Loco-Motion分析………………………………………………94
3.2.4 電影音樂敘事空間的連結模式…………………………………………100
3.2.4.1 多個空間的虛實交錯…………………………………………103
3.2.4.2 單個空間內的虛實交錯………………………………………106

第四章……………………………………………………………………………108
第一節 詛咒的歷程……………………………………………………………………108
4.1.1 詛咒造就妮姬的心路歷程………………………………………………108
4.1.2 詛咒促成時空的流動性…………………………………………………110
第二節 詛咒與音樂的關係……………………………………………………………115
4.2.1 音樂曲目組織架構與陷入詛咒的歷程………………………………….115
4.2.2 音樂連結與詛咒的系譜關係……………………………………………117
4.2.3 音樂與空間的流動……………………………………………………120
4.2.3.1 音樂與場所的連合……………………………………………121
4.2.3.2 劇情、非劇情、後設劇情關係的不穩定……………………123

結論…………………………………………………………………131
參考文獻…………………………………………………………133
附錄…………………………………………………………………137
附錄表格…………………………………………………………137
附錄譜例…………………………………………………………144

參考文獻
書籍
Agnew, John A. 2002. Place and Politics in Modern Italy . The University of Chicago Press.
Barney, Richard A. Ed. 2009. David Lynch: interviews. The University Press of Mississippi.
Bordwell, David and Thompson, Kristin. 1985. ‘Fundamental Aesthetics of Sound in the
Cinema: the Power of Sound’ in Film sound: Theory and Practice. New York: Columbia
University Press.
Chion, Michel. 1994. Audio-Visiom: Sound On Screen. Claudia Gorbman trans. New York:
Columbia University Press.
Chion, Michel. 2006. David Lynch 2nd, trans. Robert Julian and Trista Selous. London: British
Film Institute.
Chion, Michel. 1999. The Voice in Cinema, Claudia Gorbman trans. New York: Columbia
University Press.
Davison, Annette. 2004. Hollywood Theory, Non-Hollywood Practice: Cinema Soundtrack in
the 1980s and 1990s. Burlington: Ashgate Publishing Company.
Elferen, Isabella Van. ‘Dream Timbre: Notes on Lynchian Sound Design,’ in Music, Sound and
Filmmakers: Sonic Style in Cinema. New York: Routledge Press, 2012.
Erickson, Robert. 1975. Sound Structure in Music. Berkeley, Los Angeles, London: University of
California Press.
Genette, Gerard. 1980. Narrative Discourse: An Essay in Method, trans. Jane E. Lewin. Ithaca,
New York: Cornell University Press.
Gorbman, Claudia. 1987. Unheard Melodies: Narrative Film Music. Bloomington &
Indianapolis: Indiana University Press,
Health, Stephen. 1981. Questions of Cinema. London and Basingstoke: The Macmillan Press
LTD.
Kerin, Mark. 2011. Beyond Dolby (Stereo): Cinema in the Digital Sound Age. Bloomington and
Indianapolis: Indiana University Press.
Mactaggart, Allister. 2010. The Film Painting of David Lynch: Challenging Film Theory.
Chicago: Intellect, The University of Chicago Press; Bristol: Intellect.
Miklitsch, Robert. 2008. ‘Real Fantasies: Connie Stevens, Silencio, and Other Sonic Phenomena
in Mulholland Drive’ in Lowering the Boom: Critical Studies in Film Sound . Urbana and
Chicago: University of Illinois Press.
Nieland, Justus. 2012. David Lynch. Urbana, Chicago, and Springfield: University of Illionis
Press.
Nochimson, Martha P. 2013. David Lynch Swerves: Uncertainty from Lost Highway to Inland
Empire. Austin: University of Texas Press,
Olson, Greg. 2008. David Lynch: Beautiful Dark. Maryland: Scarecrow Press, Inc.
Odell, Colin and Blanc, Michelle Le. 2007. David Lynch. Kamera Books.
Parciack, Ronie. 2011. ‘The World as Illusion: rediscovering Mulholland Dr. and Lost Highway
through Indian Philosophy’ in The Philosophy of David Lynch (The University Press of
Kentucky.
Rodley, Chris. Ed. 2005. Lynch on Lynch. New York: Faber and Faber Inc.
Stilwell, Robynn J. ‘The Fantastical Gap between Diegetic and Nondiegetic,’ in Beyond the
Soundtrack: Representing Music in Cinema. Berkeley: University of California Press, 2007.
Wierabicki, James. Ed. 2012. Music, Sound and Filmmakers: Sonic Style in Cinema. New York:
Routledge Press.
加斯東．巴謝拉(Gaston Bachelard)著，龔卓軍、王靜慧譯，2008，《空間詩學》，臺北：
張老師文化事業股份有限公司。
大衛・鮑德威爾(David Bordwell)著，李顯立、吳佳琪、游惠貞譯，1999，《電影敘事》，
台北：遠流出版事業股份有限公司。
大衛・鮑德威爾(David Bordwell)與 克莉絲汀．湯普遜(Kristin Thompson)著，曾偉禎譯，
2001，《電影藝術：形式與風格》，臺北市：美商麥克羅・希爾國際股份有限公司
台灣分公司。
Noel Burch著，李天鐸、劉現成譯，1997，《電影理論與實踐》，臺北：遠流出版事業股份
有限公司。
Tim Cresswell著，王志弘、徐苔玲譯，2006，《地方》，台北：群學有限公司。
Andre Gaudreault and Francois Jost著，劉云舟譯，2010，《什麼是電影敘事學》，商務印書
館。
彼得・拉森(Peter Larsen) 著，聶新蘭、王文斌譯，2009，《電影音樂》，濟南：山東畫報
出版社。
大衛・林區(David Lynch)著，盧慈穎譯，2008，《大衛林區談創意》，遠流出版事業股份有
限公司。
Christian Metz著，劉森堯譯，2000，《電影語言：電影符號學導論》，臺北：遠流出版
事業股份有限公司。
Gustavo Mercado著，楊智捷譯，2012，《鏡頭之後：電影攝影的張力、敘事與創意》，
新北市：大家出版：遠足文化發行，2012年。
Robert Stam著，陳儒修、郭幼龍譯，2008，《電影理論解讀》，臺北：遠流出版事業股份
有限公司。
Deborah Thomas著，李達義、曹玉玲譯，2004，《解讀好萊塢：電影的空間與意義》，書
林出版有限公司。
Peter Ward著，廖澺蒼譯，2010，《影視攝影與構圖》，臺北市：五南圖書出版股份有限
公司。
葉月瑜著，2000，《歌聲魅影：歌曲敘事與中文電影》，臺北：遠流出版事業股份有限公
司。
期刊論文
Gorbman, Claudia ‘Narrative Film Music’ in Yale French Studies, No.60, Cinema/Sound (1980)
Mazullo, Mark. Remembering Pop: David Lynch and the Sound of the ''60s ( American Music,
Vol. 23, No. 4 (Winter, 2005), pp. 493-513.

樂譜
Coleman, Cy and Stewart, Michael. 1980. ‘The Colors of My Life’ from Barnum. Notable Music
Company, Inc.
Goffin, Gerry and King, 1962 (Renewed 1990). Carole. The Loco-motion. Screen Gems-EMI
Music INC.
Gordon, Mack and Warren, Harry. 1942. At Last. EMI Feist Catalog INC,
Beck, John King, Mike Simpson and Eugene Blacknell. 2005. Black Tambourine. Plastic
Kosmos Music, Universal Music Corp., Dust Brothers Music and Be Love Publishing
Company.
Lutoslawski, Witold. 1981. Novelette. London: Chester Music,
Penderecki, Krzysztof. 1963. Polymorphia: for 48 stringed instruments. Celle, Germany:
Hermann Moeck Verlag,
. 1962. Fluorescences: pour orchestra. Celle, Germany: Hermann Moeck
Verlag.
. 1975. The Awakening of Jacob. Krakow, Poland: PWM Edition.
. 1967. De Natura Sonoris. Celle: Moeck Verlag.
. 1972. De Natura Sonoris No.2: per orchestra. B. Schott’s Sohne, Mainz.
網路資料
Cumbow, Robert C. 2008. David Lynch Folds Space: Because He Is the Kwisatz Haderach!…
(Parallax View) http://www.slantmagazine.com/house/2008/11/david-lynch-folds-space-because-he-is-the-kwisatz-haderach/
Lynch, David, Rabbits. Available at:
http://www.youtube.com/watch?v=CdjWWSKfKsg
Milicevic, Mladen. Film Sound Beyond Reality: Subjective Sound in Narrative Cinema
at http://myweb.lmu.edu/mmilicevic/NEWpers/_PAPERS/beyond.pdf
Rowin, Michael Joshua. 2006. An Interview with David Lynch.
http://www.reverseshot.com/article/interview_david_lynch
The British Film Resource, The Films of David Lynch: 50 Percent Sound
http://www.zenbullets.com/britfilm/lynch/Sintro.html

影音資料
Lynch, David. Inland Empire. Stared by Laura Dern, Jeremy Irons, Justn Theroux. DVD
Recording.
Lynch, David and others. David Lynch’s Inland Empire Soundtrack. CD Recording.