This paper discusses the renewal of the conception of film sound and music following the technological advances of the late 1970s. It analyses the ways in which film sound and music freed themselves from traditional uses and became elements to be designed creatively. The soundtrack composed by Vangelis for Blade Runner (1982) is exceptional in this regard: produced in parallel to the editing of the film, it forged an intimate connection between sound and image. Through the method of reduced listening put forward by Michel Chion in Audio-Vision (2019), this paper scrutinizes the specific ways in which sound shapes the perception of the image and narrative in Blade Runner. The first part of this paper analyses how sounds come to replace music to characterize moods and atmospheres. Ambient sounds create a concrete, sonically dense diegetic world, while music is associated with an abstract, extra-diegetic world where spectators are designated judges. This contrast is thematically relevant and delineates the struggle between humans and replicants; sound and music are used for their metaphorical implications rather than in an effort for realism. The second part discusses the agency of characters through the sonorousness of their voices and bodies. Intonations, pronunciation, and acousmatic sounds anchor characters’ natures as humans or replicants to their bodies. Yet, these bodies are revealed to be mere vessels awaiting definition; in the third part, we explore how sound is used to craft synaesthetic depictions of characters, revealing their existence beyond the human/replicant divide.

中文翻译：

---

雷德利·斯科特的《银翼杀手》(1982) 中的声音和感知


本文讨论了 20 世纪 70 年代末技术进步之后电影声音和音乐概念的更新。它分析了电影声音和音乐如何摆脱传统用途并成为创造性设计的元素。范吉利斯为《银翼杀手》（1982）创作的配乐在这方面非常出色：与电影剪辑同时制作，它在声音和图像之间建立了密切的联系。本文通过米歇尔·奇翁（Michel Chion）在《视听》（2019）中提出的减少聆听的方法，审视《银翼杀手》中声音塑造图像和叙事感知的具体方式。本文的第一部分分析了声音如何取代音乐来表征情绪和氛围。环境声音创造了一个具体的、声音密集的叙事世界，而音乐则与一个抽象的、超叙事的世界联系在一起，在这个世界中，观众被指定为评委。这种对比在主题上是相关的，描绘了人类和复制人之间的斗争。声音和音乐是为了隐喻含义而使用的，而不是为了实现现实主义。第二部分通过声音和身体的响亮来讨论角色的代理作用。语调、发音和声学声音将角色作为人类或复制人的本质锚定在他们的身体上。然而，这些尸体被揭露只是等待定义的容器；在第三部分中，我们探索如何使用声音来制作人物的联觉描述，揭示他们超越人类/复制人界限的存在。