影視音樂外文文獻(xiàn)及翻譯

1、Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 1980s and 1990sThe Spectre of Sound: Music in Film and TelevisionExperiencing Music Video: Aesthetics and Cultural Context Annette Davison. , Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 1980s and 1990s. Alder

2、shot: Ashgate, 2004, 221 pp. K.J. Donnelly. , The Spectre of Sound: Music in Film and Television. lLondon: British Film Institute, 2005, 192 pp. Carol Vernallis. , Experiencing Music Video: Aesthetics and Cultural Context. New York, NY: Columbia University Press, 2004, 341 pp.  Next SectionThe

3、last time a collection of screen music-related books was the subject of a Screen review, the reviewer Simon Frith was moved to note each work's self-defeating need to draw attention to their subject's neglect as well as the very limited manner in which the authors seemed to be engaged with e

4、ach other.1 Judging by the books grouped together in the present review, the scholarship in the area is now much more collegiate, and the requirement on the authors to self-diagnose academic isolation seems to have become unnecessary. Annette Davison, K.J. Donnelly and Carol Vernallis share a pletho

5、ra of critical references on musicimage relationships, from Theodor Adorno to Philip Tagg and many points in between. A substantial canon of academic writing on music in narrative film now exists, and it can no longer be claimed that music video is a scholarly blind spot (as Vernallis admits). Of th

6、e various media formats discussed in the books under review, only television music remains relatively under-represented academically (though Donnelly's two chapters on the subject begin the process of addressing this absence). In this context, the authors' task would appear to be to present

7、alternatives to existing work, or to bring new objects of study to critical light. All three studies make claims for their own originality by referencing a model of classical narrative film music practices: a conceptualization of the soundtrack's role as fitting in with classical cinema's pe

8、rceived storytelling priorities. For all the books' individual merits, the regular recourse to notions of the classical, even in the service of its refutation, raises interesting questions about the possibility (or impossibility) of doing without such a concept entirely. Thus, these works reveal

9、 the classical to be a category as problematic yet insistent in writing on musicimage relations as it is in other areas of screen studies enquiry. As its title suggests, Davison's Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 1980s and 1990s engages with classical film musi

10、c theory most explicitly. Indeed, about a quarter of the book is devoted to the explication of, first, Classical Hollywood Cinema as it has been conceived academically, and second, the classical scoring practice associated with it (which Davison sees revived in the so-called post-classical Hollywood

11、 of the mid 1970s onwards). This provides the ground on which Davison makes her key claim: The central argument of this book is that, by operating as a signifier of classical and, indeed, New Hollywood cinema the classical Hollywood score offered those making films outside and on the margins of Holl

12、ywood cinema in the 1980s and 1990s a further means by which they could differentiate their cinemas from Hollywood's, through the production of scores and soundtracks which critique or refer to this practice in particular ways (p. 59). There follow close analyses of four films whose soundtracks,

13、 according to Davison, refer to the classical model at the same time as they offer an alternative. Through her sequencing of the case studies, Davison outlines possibilities of alternative practice that range from a total deconstruction of the classical soundtrack's conventional storytelling fun

14、ctions (as witnessed in Jean-Luc Godard's Prenom: Carmen 1983) to the identification of a scoring practice that mimics certain aspects of the classical in its collaborative nature, yet provides a utopian alternative to it (as seen through David Lynch's Wild at Heart 1990). In between, she ex

15、plores the notion of the soundtrack as a liberating force (Derek Jarman's The Garden 1990), and the potential for a compromise to be found between classical and alternative models (Wim Wenders' Wings of Desire 1987). Davison's reading of each film is imaginative and very well detailed. S

16、he demonstrates a particular facility for identifying, and ascribing a significance to, different types of sound on the same soundtrack. This is done with particular success in her readings of The Garden and Wings of Desire. Her analysis does not seek to hide her evident musical training, but, in ne

17、arly all cases, remains intelligible and persuasive to non-musicologists such as myself (who will just have to accept the occasional use of musical notation as pretty pictures). It is questionable how much of the extremely comprehensive scene-setting undertaken by Davison in the book's early sec

18、tions is necessary for an appreciation of the individual film analyses. Nevertheless, her summaries of discussions about classical and post-classical Hollywood cinema and the classical film score are exemplary, and they are conducted with a thoroughness which is understandable, perhaps, in a book wh

19、ich takes its place in the publisher's Popular and Folk Music series rather than in a screen studies collection. There remains a mismatch, however, between the concentration on Hollywood as an institutional, industrial and ideological force in the early chapters of the book, and the auteurist be

20、nt of the analysis that follows in later chapters. For example, the chapter on New Hollywood cinema and (post-?) classical scoring concludes with statistical information about US cinema's growth in the overseas market during the 1980s. Yet this detail seems unnecessary in the light of the subseq

21、uent interpretation of the various non-Hollywood soundtracks as imaginative responses to mainstream practices on the part of individual filmmakers. The division between descriptions of Hollywood as intransigently institutional, and the implicit understanding of art-house cinema as a space for the fr

22、ee expression of the auteur (made explicit in the celebration of Lynch in the final case study) is made too complacently and means that Davison does not fulfil her promise to engage with institutional issues in relation to film soundtracks and scores (p. 6) in every case. In this respect, the book d

23、oes not fully realize the potential of its many excellent parts. The critical tone of Donnelly's The Spectre of Sound: Music in Film and Television also fluctuates somewhat from section to section, although the reader is prepared for this by the author's early claim that the book is a rumina

24、tion, an investigation of some of the elusive and fascinating aspects of screen music (p. 3) rather than a more strictly hypothesis-based account. Nevertheless, more concrete justification is given for the book's attention to a pleasingly eclectic range of material, which includes the work of ca

25、nonized auteurs such as David Lynch and Stanley Kubrick, but also makes room for a discussion of the soundtracks of Space: 1999, a whole range of horror movies, and the role of music in television continuity segments. Donnelly characterizes screen music as something more intangible than is claimed i

26、n the more classical accounts focusing on the score's overt storytelling functions. Inspired, in particular, by the increasingly complex sound design of films produced for release in cinemas, Donnelly argues: While film music traditionally has been conceived as part of narration, working for fil

27、m narrative, in some ways it would be better to see it as part of the film's repository of special effects (p. 2).Determined to explore screen music's more unruly qualities (at least when set against a narrative yardstick), Donnelly riffs around notions of music's ghostliness in an imagi

28、native manner. Particularly in relation to cinema, he sees the haunting activities of the soundtrack as constituting a kind of sensuous possession of the viewer. Donnelly (somewhat contentiously given the medium's technological advances) is less willing to admit to the possessing capabilities of

29、 television soundtracks, but concentrates instead on another kind of haunting: the habitual use of familiar music in television that evokes the spectre of its lives elsewhere as much as it applies itself to a particular televisual context. It is the notion of screen music as always indicating anothe

30、r place that most usefully ties the different strands of Donnelly's eclectic study together. Through this interest in the elsewhere of screen music, Donnelly successfully probes areas outside the reach of classical narrative film music theory, which attends to the here and now of the soundtrack&

31、#39;s involvement in a particular fictional scenario. However, the value of the insights which ensue from this successful escape from a more classical approach is sometimes taken for granted. Donnelly's analyses as a whole lack the attention to detail which is one of the virtues of Davison's

32、 case studies. The author anticipates this criticism early on by acknowledging that the book provides a “l(fā)ong shot”, allowing the sort of synoptic view unavailable to detailed analysis, rather than the predominant “close-up” of many preceding film music studies (p. 3). The loss, in terms of analytic

33、al depth, that this critical strategy necessitates, is not always compensated for by the book's commendable breadth. For example, a relatively sustained analysis of Lynch's Lost Highway (1996) is not as convincing as it might be due to an unwillingness to provide sufficient evidence for its

34、claims. On the film's heavy use of pre-existing pop songs, Donnelly comments: Are these song appearances simple comments on the action? I don't think so. It is more as if the action emanates from the songs themselves, particularly from their grain of sound and rhythmic aspects (p. 28). This

35、assertion is allowed to fend for itself, in the absence of more particular commentary about the interaction between the action and song in each specific case. The value of investigating screen music's less submissive qualities in relation to narrative principles would be better advocated through

36、 a detailed interpretation that also engages with the possibility that the soundtrack fulfils more conventional storytelling functions. Characterizing the elsewhere of screen music surely becomes more interesting if its relationship to other spaces is acknowledged and its own territory is mapped in

37、detail. Vernallis's Experiencing Music Video: Aesthetics and Cultural Context combines the imaginative facility that fires Donnelly's book with the attention to detail that characterizes Davison's. Her study is extremely comprehensive in fulfilling its promise to take the music of music

38、video most seriously (p. x), thereby attempting an analysis that takes musical codes, processes, and techniques as providing means by which video image can be structured (p. 209). On one level, as Vernallis admits, this is a belated consolidation of the initiatives taken in Andrew Goodwin's foun

39、dational music television study Dancing in the Distraction Factory: Music Television and Popular Culture.2 In its implementation, however, Vernallis far exceeds this brief. There are chapters on narrative and editing, as you might expect from a study whose aim it is to deconstruct the form of the mu

40、sic video; less expected is the attention to aspects such as supporting performers, props and the sensual qualities of (aural and visual) space, colour, texture and time. Even in the more predictable sections, Vernallis explores relationships between song and image which expand a critical understand

41、ing of the music video's possibilities. For instance, in the chapter on editing, she goes far beyond the standard notion that videos cut their images to the rhythm of the song, to suggest: Obviously, editing can reflect the basic beat pattern of the song, but it can also be responsive to all of

42、the song's other parameters. For example, long dissolves can complement arrangements that include smooth timbres and long-held tones. A video can use different visual material to offset an important hook or a different cutting rhythm at the beginnings and ends of phrases. And, of course, these e

43、ffects can switch from one-to-one relationships to something that is more contrapuntal (p. 49). These kinds of expressive possibilities are then illustrated through a great range of examples, all analysed with an interpretive richness that makes the inclusion of three extended case study chapters at

44、 the end of the book almost feel like too much of a good thing. In her afterword, Vernallis claims that her book attempts to lay out the basic materials of music video, much as David Bordwell and his colleagues do for cinema in The Classical Hollywood Cinema or Film Art (p. 286). Experiencing Music

45、Video will certainly prove useful as a textbook, and some of the unnecessary repetition between chapters may be explained by an expectation that the book will be consulted in separate chunks on individual weeks of a course rather than as a whole. However, I feel that Vernallis is selling herself sho

46、rt with her comparison. There is an imaginative and idiosyncratic, yet disciplined, interpretive impulse behind her analysis which The Classical Hollywood Cinema3 explicitly rejects. Her book has more in common with the poetic categorizations of sound theorist Michel Chion or, casting the net more w

47、idely, the sensitive responses to the intricacies of a filmed fictional world demonstrated by George M. Wilson's Narration in Light: Studies in Cinematic Point of View.4 Both Wilson and Vernallis seize on moments which the authors then seek to explain in relation to their fictional world, whethe

48、r that be a setting stimulated by dramatic possibilities, as in the case of narrative film, or musical parameters, as is the case with the music video. As Vernallis states, by attending to the smallest of moments, it will be possible to work toward seeing how the video builds toward this moment and

49、moves away from it (p. 202). On a number of occasions, even an attentive and immersed critic like Vernallis cannot resist the temptation to compare songimage relationships in the music video with the perceived typical conventions of classical cinema and classical narrative film music. This necessita

50、tes a diversion from the book's primary, and most laudable, aim to fully understand the influence of the music of the music video. In all three books, the acknowledgement of a body of film music writing that can be categorized as classical provides evidence of a now mature field of study. This l

51、iterature is not always integrated seamlessly with the authors' own arguments. All three works provide illuminating insights into types of screen music that are not accounted for adequately by classical theory. However, the arguments work best when engaging carefully with the specific relationsh

52、ips observable and audible in their chosen objects of study, rather than looking over the shoulder towards models of classical narrative film music, or assuming the value of an analysis simply because it does not fit the classical mould. In the kind of text-based criticism pursued by all three write

53、rs, the most generous kind of critical activity can also be the most myopic. Vernallis's book, in particular, shows the rewards of a close reading of particular moments, as it produces insights which may inspire the reader to understand, in new and surprising lights, not only that moment, but ot

54、hers they encounter themselves. 1. Ian GarwoodPrevious Section Footnotes· Simon Frith, Screen, vol. 41, no. 3 (2000), p. 335. · Andrew Goodwin, Dancing in the Distraction Factory: Music Television and Popular Culture (Minneapolis, MN: University of Minneapolis Press, 1992). · Dav

55、id Bordwell, Janet Staiger and Kristin Thompson, The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 (London: Routledge, 1985). · George M. Wilson, Narration in Light: Studies in Cinematic Point of View (Baltimore, MD: Johns Hopkins University Press, 1986). 好萊塢理論、非好萊塢實(shí)踐：20

56、世紀(jì)80年代至20世紀(jì)90年代的原聲帶電影聲音的魅力：電影和電視劇中的音樂體驗(yàn)型的音樂視頻：美學(xué)與文化語境 最后一次收集的屏幕與音樂有關(guān)的書籍是主題為屏幕的專業(yè)評(píng)論，評(píng)論者是Simon Frith，她很感動(dòng)，并注意到各項(xiàng)工作間的弄巧成拙.需要提請(qǐng)注意的是她們忽視主題以及非常有限的方式，在這種方式中，作者們似乎愿意相互幫助以完成工作。從目前收集到的評(píng)論書籍中可以判斷，和以前相比，該地區(qū)大部分學(xué)術(shù)成就是分學(xué)院的，并且要求對(duì)作者進(jìn)行的自我診斷和學(xué)術(shù)隔離似乎已經(jīng)不太成為必要。Annette Davison、 K.J. Donnelly 以及 Carol Vernallis分享了大量關(guān)于音樂形象的批判參

57、照書籍，這些書籍覆蓋了從Theodor Adorno 到 Philip Tagg，以及大量兩者觀點(diǎn)之間的書籍。 如今，存在著大量經(jīng)典的音樂學(xué)術(shù)作品，這些作品都是基于敘事電影寫作的，并且它可以不再聲稱那個(gè)音樂視頻是一個(gè)學(xué)術(shù)的盲點(diǎn) （正如Vernallis所 承認(rèn)那樣）。專業(yè)評(píng)論角度下，書中討論的各種媒體格式，只有電視音樂仍然具有相對(duì)的學(xué)術(shù)代表性 （盡管Donnelly的兩篇關(guān)于這個(gè)問題文章開始了解決這種缺失的進(jìn)程）。 在這種情況下，作者的任務(wù)似乎已經(jīng)變成提出可替代目前現(xiàn)有工作的觀點(diǎn)，或把新研究對(duì)象帶到學(xué)術(shù)界批判的眼光之下。所有三項(xiàng)研究成果都為她們自己學(xué)術(shù)的原創(chuàng)性做出了聲明，而且這些聲明都是通過引

58、用經(jīng)典敘事電影音樂實(shí)踐模型的方式做出的：一個(gè)概念化的原聲帶的角色，在經(jīng)典電影中與講述優(yōu)先級(jí)的感知故事相配合。對(duì)于所有書，其每本書的價(jià)值在于，即使在其駁斥的論述中也可以引發(fā)一種有趣的問題，該問題就是研究中完全不使用這種理論的可行性或不可行性。即經(jīng)常求助于經(jīng)典于概念，即使是在事務(wù)中駁斥了，引發(fā)了可能 （或不可能） 的完全沒有這種概念做有趣問題。因此，這些作品成果揭示出 '經(jīng)典' 也有可能是一種疑難問題，它一直還運(yùn)用于音樂形象關(guān)系的學(xué)術(shù)寫作中，如同在屏幕學(xué)習(xí)探索領(lǐng)域的應(yīng)用一樣。 如其標(biāo)題所示， Davison的好萊塢理論，非好萊塢實(shí)踐：20世紀(jì)80年代至20世紀(jì)90年代的原聲帶電影非

59、常明確地運(yùn)用了經(jīng)典的電影音樂理論。事實(shí)上，大約有四分之一的這本書進(jìn)行了這樣的解釋：首先，假設(shè)古典好萊塢電影理論已經(jīng)獲得學(xué)術(shù)上的地位；其次，古典的得分實(shí)踐與之相聯(lián)系 （其中Davison認(rèn)為在 20 世紀(jì) 70 年代中期出現(xiàn)的后古典好萊塢復(fù)興正在繼續(xù)）。這就為Davison提出她關(guān)鍵的理論提供了依據(jù)這本書的中心論點(diǎn)是，通過操作經(jīng)典的信號(hào)物而且事實(shí)上，新好萊塢電影古典好萊塢評(píng)分在1980 年代和 1990 年代提供了進(jìn)一步制作那些質(zhì)量在好萊塢電影外面和邊緣的電影的手段，她們可以區(qū)分她們從好萊塢的電影院，通過產(chǎn)品的分?jǐn)?shù)和配樂她們可以區(qū)分自己的電影與好萊塢電影，這些產(chǎn)品的分?jǐn)?shù)和配樂通過特殊的途徑批判或涉及這種實(shí)踐。 通過對(duì)四部電影的配樂的跟蹤分析，根據(jù)戴維森，指在時(shí)間為他們提供另一種同樣的經(jīng)典模型。她通過測(cè)序研究的情況，戴維森概述替代實(shí)踐從總解構(gòu)經(jīng)典電影配樂的傳統(tǒng)講故事的功能到一個(gè)練習(xí)，模仿經(jīng)典的某些方面在其合作性質(zhì)的認(rèn)定范圍的可能性，但它提供了一個(gè)理想的替代。在這兩者之間，她探討了電影配樂的概念是一種“解放”的力量，在古典與另類的模式之間找到了一種妥協(xié)的可能性。戴維森的每部電影里閱讀是想象力和非常詳細(xì)的。她展示了一個(gè)特定的識(shí)別設(shè)備，并賦予不同類型的原聲意義。這一點(diǎn)在他的花園和欲望的翅膀完成的特別好。她的分析并不試圖隱藏她的明顯的音樂訓(xùn)練，但是，在幾乎所有的情況下仍然是可