声音作为一种听觉媒介，沟通着人与环境间的关系，并折射着一定时代下人们的听觉思维与文化共识。声景理论的系统论述由谢弗于1970年代提出，这一理论强调人们所处的声音环境中凝结了何种技术、文化、感知与权力关系，人们接受听觉信息后，又如何改造所处的环境。本文试图将声景的概念与声景理论放置在《牯岭街少年杀人事件》这一影片的研究框架下，分析《牯岭街》是如何利用多种听觉媒介、构建听觉空间，并通过特定时代的听觉文化反应立体的台湾社会样貌。

论文分别从听觉媒介、听觉空间和听觉文化三部分论述《牯岭街》中的声音设计是如何构建声景的。首先，从听觉媒介的选择上看，《牯岭街》通过随处出现的新闻播报声展现意识形态的政治宣传力度，并以收音机为线索暗喻杨德昌导演对当时代官方政治话语的质疑态度。其次，从听觉空间的构建上看，《牯岭街》通过设置复杂的环境声勾勒当时代台湾“反攻大陆”号召下的白色恐怖氛围，利用方言，俚语等语言诠释台北多元的族群构成与较为陈旧的性别话语，并以听点的灵活调度构建视听节奏。最后，从听觉文化层面上看，《牯岭街》通过丰富的音乐设计，将美国流行乐、京剧音乐、宗教音乐、传统民乐、日本音乐等元素纳入故事叙事中，反映了青春期少年追求迷幻乐曲弥补内心空虚的迷惘，折射了外省人流亡岛屿却心寄故土的乡愁，呈现后日据时代台湾居民对日本殖民文化的态度，并服务于主线剧情的叙事。《牯岭街》中所构建的声景或直接或间接地影响着人物的命运走向，还原了二十世纪六十年代真实的台湾社会环境，并折射时代图景背后的权利话语与文化共识。

Sound communicates the relationship between people and their environment, reflecting thecultural consensus of a particular era. The theory of soundscape was proposed by the Canadian composer Murray Schafer in the 1970s, emphasizing how the sound environment encapsulates technological, knowledge, emotional, and power relations. This article seeks to place the concept and theory of soundscape within the research framework of the film A Brighter Summer Day, analyzing how the film uses various auditory media to construct auditory space and respond to the social landscape of Taiwan during a specific era.

Firstly, A Brighter Summer Day uses ubiquitous news and broadcast sounds to demonstrate the ideological and political propaganda and shows the director Edward Yang's attitude towards official political discourse through the thread of the radio. Secondly, the film outlines the White Terror atmosphere under the call of "retake the mainland" in Taiwan during that era by setting up a complex environmental sound, using dialects, slang, and other languages to interpret the diverse ethnic groups in Taipei and the relatively archaic gender language, and using flexible scheduling of listening points to construct audio-visual rhythms. Finally,the film incorporates a variety of music designs, including American pop music, Peking Opera music, religious music, traditional folk music, Japanese music, and other elements into the story narrative, reflecting the confusion of teenagers pursuing psychedelic music to compensate for inner emptiness, showing the homesickness of mainlanders who fled to the island but still longed for their homeland, and presenting the attitude of Taiwanese residents during the post-Japanese colonial era towards Japanese colonial culture, serving the narrative of the main plot.

The soundscape constructed in A Brighter Summer Day indirectly influences the fate of the characters and complements visual elements, restoring the real social environment of Taiwan in the 1960s and reflecting the power discourse and cultural consensus behind the social landscape.