1  [美]羅伯特·斯塔姆. 電影理論解讀. 陳儒修，郭幼龍譯. 北京:北京大學出版社，2017. 259.

    2  [法]米歇爾·希翁. 視聽:幻覺的建構(gòu). 黃英俠譯. 北京:北京聯(lián)合出版公司，2014.

    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:電影中的神經(jīng)科學. 張婉宜譯. 當代電影，2018，(2):30—36.

    6  J.F.Thayer, R.W. Levenson. Effects of Music on Psychophysiological Responses to a Stressful Film. Psychomusicology, 1983(3): 44-52.

    7  Baumgartner, Lutz, Schmidt, Jancke. The Emotional Power of Music: How MusicEnhances the Feeling of Affective Pictures. Brain Research, 2006(1075): 151-164.

    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方法的詳細論述，參見:[美]烏里·哈森等. 神經(jīng)電影學:電影中的神經(jīng)科學. 張婉宜譯. 當代電影，2018，(2):30—36.

    13  Xia M, Wang J, He Y. BrainNet Viewer: A Network Visualization Tool for HumanBrain Connectomics. PLoS ONE , 2013(08): e68910.

    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(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，實驗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.

    17  Christine Mlot. Probing the Biology of Emotions. Science，

    1998(280): 1005-1007.

    18 F. Mirz, et al. Stimulus-dependent Central Processing of Auditory Stimuli: A PETStudy. Scand Audiol, 1999(3):161.

    19  朱家愷，黃潔夫，陳積圣編. 外科學辭典. 北京:北京科學技術(shù)出版社，2003. 315.

    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:北京大學出版社，2017. 260.

    24 [法]米歇爾·希翁. 聲音. 張艾弓譯. 北京:北京大學出版社，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. https://mp.weixin.qq.com/s/T4zubZGJQuyKEasqoQ2bRA, 2019-2-28.

    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