This article considers three science fiction films, released in 2013–14, featuring Scarlett Johansson:Her(dir. Spike Jonze),Lucy(dir. Luc Besson), andUnder the Skin(dir. Jonathan Glazer). It suggests that to engage with the phenomenon of voice in imaginative and productive ways it is necessary to slide over a disciplinary divide and address more explicitly the musicality of speech. In my main example,Her, Johansson provides the voice of an operating system with which the film's protagonist falls in love. Central to their intimate connection is the establishment of what I call the ‘haptic voice’, which conveys a sense of physical proximity. A similar blurring of the boundaries between voice and body occur in the presentation of the alien characters Johansson plays in the other films.

中文翻译：

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斯嘉丽约翰逊的身体与声音的物化

本文考虑了 2013-14 年上映的三部科幻电影，由斯嘉丽·约翰逊主演：她（导演斯派克·琼斯），露西(dir. Luc Besson), 和皮肤下（导演乔纳森·格雷泽）。它表明，要以富有想象力和富有成效的方式参与语音现象，有必要跨越学科鸿沟并更明确地解决语音的音乐性问题。在我的主要示例中，她, Johansson 为电影主角爱上的操作系统配音。他们亲密联系的核心是建立我称之为“触觉声音”的东西，它传达了一种物理上的接近感。在约翰森在其他电影中扮演的外星人角色的呈现中，声音和身体之间的界限也出现了类似的模糊。