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3 Ann-Kristin Herget. On Music’s Potential to Convey Meaning in Film: A Systematic Review of Empirical Evidence. Psychology of Music，2019: 7.
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.
5 [美]烏里·哈森等. 神經(jīng)電影學(xué):電影中的神經(jīng)科學(xué). 張婉宜譯. 當(dāng)代電影，2018，(2):30—36.
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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(guān)ISC方法的詳細(xì)論述，參見(jiàn):[美]烏里·哈森等. 神經(jīng)電影學(xué):電影中的神經(jīng)科學(xué). 張婉宜譯. 當(dāng)代電影，2018，(2):30—36.
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14 Yan, C.G., Wang, X.D., Zuo, X.N., Zang, Y.F. DPABI: Data Processing & Analysis for (Resting-State) Brain Imaging. Neuroinformatics, 2016(14): 339-351.
15 作者注:實(shí)驗(yàn)中有1名被試因個(gè)人原因未能完成測(cè)試，Session1播放過(guò)程中有3人頭部移動(dòng)超過(guò)5毫米，Session2播放過(guò)程中有4人頭部移動(dòng)超過(guò)5毫米；最終，實(shí)驗(yàn)在Session1部分采集到16人的有效腦部數(shù)據(jù)，Session2部分采集到15人的有效腦部數(shù)據(jù)。在此基礎(chǔ)上，實(shí)驗(yàn)形成此次研究的腦成像數(shù)據(jù)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.
22 Aikaterini Traianou, et al. The Neuropsychological Profile of Parietal and OccipitalLobe Epilepsy. Epilepsy & Behavior，2019: 137-143.
23 [美]羅伯特·斯塔姆. 電影理論解讀. 陳儒修，郭幼龍譯. 北京:北京大學(xué)出版社，2017. 260.
24 [法]米歇爾·希翁. 聲音. 張艾弓譯. 北京:北京大學(xué)出版社，2013.
25 M. Shevy. The Mood of Rock Music Affects Evaluation of Video Elements Differing in Valence and Dominance. Psychomusicology, 2007(19): 57-58.
26 Noël Carroll. Mystifying Movies: Fads and Fallacies in Contemporary Film Theory.New York: Columbia University Press, 1988. 170-181.
27 Kevin Berger. Leon. 美存在于觀看者的神經(jīng)系統(tǒng)之中. 阿莫東森. Xiz譯.
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28 Gilles Deleuze. The Brain is the Screen. trans Gregory Flaxman. The Brain is the Screen: Deleuze and the Philosophy of Cinema. Minneapolis: University of Minnesota Press, 2000. 373.
本文選自《電影藝術(shù)》2020年第4期