ABSTRACT This article examines the role that locality, cultural specificity and authentic voice play within current television industry shifts and transnational developments. Focussing on Top of the Lake, I explore its thematic and aesthetic preoccupation with place, voice and nation by spotlighting issues of accent and vocal in/authenticity, detailing the controversy sparked when US star Elisabeth Moss was cast as New Zealand native, detective Robin Griffin. The adopted Antipodean accent furnished by Moss creates a highly ambivalent foregrounding and re-negotiation of the national within the particularly transnational space of post-broadcast ‘quality’ television. Presenting a ‘sonic spectacle’ (Holliday, Christopher. 2015. “The Accented American: The New Voices of British Stardom on US Television.” Journal of British Cinema and Television 12 (1): 63–82), Moss’ wobbly accent makes audiences doubly aware of the effort being expended to cue regional specificity and locale. In the following discussion, Moss’ vocal crafting in Top of the Lake is linked to the increasing importance given to authentic place and on-location shooting within post-broadcast television, as a means of fostering emotional pull and deep levels of viewer engagement. In Top of the Lake, links between place and authenticity are further interrogated via its self-aware invocation of touristic imagery and desires – made all the more nuanced due to Campion's presence as auteur and New Zealand's role as media-tourism mecca.

中文翻译：

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口音变化：位置，声音和湖面

摘要本文探讨了本地性，文化特殊性和真实声音在当前电视行业转移和跨国发展中所扮演的角色。我将重点放在湖顶上，重点探讨口音和声音/真实性问题，探讨其在主题，美学上对地方，声音和民族的关注，并详细阐述当美国明星伊丽莎白·莫斯（Elisabeth Moss）被选为新西兰本土侦探罗宾·格里芬（Robin Griffin）时引发的争议。莫斯（Moss）所采用的Antipodean口音在广播后“优质”电视的特别跨国空间内为国民创造了高度矛盾的前景和重新谈判。呈现“音像眼镜”（霍利迪，克里斯托弗。2015年。“美国电视上的重音美国人：英国明星的新声音。”《英国电影电视杂志》 12（1）：（第63-82页），莫斯的口音含糊不清，使观众加倍意识到为指出区域性和地区性而付出的努力。在下面的讨论中，莫斯在“湖畔之巅”的声乐创作与对广播后电视中真实地点和现场拍摄的日益重视联系在一起，以此来培养情感吸引力和深层次的观众参与度。在“山顶湖泊”中，通过对旅游形象和欲望的自我意识的唤起，人们进一步探究了地方与真实性之间的联系-由于坎皮恩（Campion）作为auterur的存在和新西兰作为媒体旅游圣地的作用而变得更加细微。莫斯在“湖畔之巅”的声乐创作与后广播电视中对真实地点和现场拍摄的日益重视联系在一起，以此来培养情感吸引力和深层次的观众参与度。在“山顶湖泊”中，通过对旅游形象和欲望的自我意识的唤起，人们进一步探究了地方与真实性之间的联系-由于坎皮恩（Campion）作为auterur的存在和新西兰作为媒体旅游圣地的作用而变得更加细微。莫斯在“湖畔之巅”的声乐创作与后广播电视中对真实地点和现场拍摄的日益重视联系在一起，以此来培养情感吸引力和深层次的观众参与度。在“山顶湖泊”中，通过对旅游形象和欲望的自我意识的唤起，人们进一步探究了地方与真实性之间的联系-由于坎皮恩（Campion）作为auterur的存在和新西兰作为媒体旅游圣地的作用而变得更加细微。