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4 Birger Langkjær. Audiovisual Styling and the Film Experience: Prospects for Textual Analysis and Experimental Approaches to Understand the Perception of Sound andMusic in Movies. Music and the Moving Image, 2015 (8): 35.
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8 Ann-Kristin Herget. On Music’s Potential to Convey Meaning in Film: A Systematic Review of Empirical Evidence. Psychology of Music，2019: 1-29.
12 作者注:有關ISC方法的詳細論述，參見:[美]烏里·哈森等. 神經電影學:電影中的神經科學. 張婉宜譯. 當代電影，2018，(2):30—36.
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15 作者注:實驗中有1名被試因個人原因未能完成測試，Session1播放過程中有3人頭部移動超過5毫米，Session2播放過程中有4人頭部移動超過5毫米；最終，實驗在Session1部分采集到16人的有效腦部數據，Session2部分采集到15人的有效腦部數據。在此基礎上，實驗形成此次研究的腦成像數據集合。
16 Joshua D. Burks, Andrew K. Conner, Phillip A. Bonney,……Michael E. Sughrue. Anatomy and White Matter Connections of the Orbitofrontal Gyrus. J Neurosurg, 2017(9): 1-8.
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20 Mc Dermott, K.B., et al. A Procedure for Identifying Regions Preferentially Activatedby Attention to Semantic and Phonological Relations Using Functional Magnetic Resonance Imaging. Neuropsychologia, 2003(3): 293-303.
21 D.Miell, R.McDonald,D.J.Hargreaves. Musical Communication. Oxford, UK: OxfordUniversity Press, 2005. 383-404.
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本文選自《電影藝術》2020年第4期