影视音乐外文文献及翻译教学内容

1、 学习-好资料hollywood theory, non-hollywood practice:cinema soundtracks in the 1980s and 1990sthe spectre of sound: music in film andtelevisionexperiencing music video: aesthetics andcultural contextannette davison. , hollywood theory, non-hollywood practice: cinema soundtracks in the1980s and 1990s. ald

2、ershot: ashgate, 2004, 221 pp.k.j. donnelly. , the spectre of sound: music in film and television. llondon: british filminstitute, 2005, 192 pp.carol vernallis. , experiencing music video: aesthetics and cultural context. new york, ny:columbia university press, 2004, 341 pp.the last time a collectio

3、n of screen music-related books was the subject of ascreen review,the reviewer simon frith was moved to note each works self-defeating need to drawattention to their subjects neglect as well as the very limited manner in which the authorsseemed to be engaged with each other. judging by the books gro

4、uped together in thepresent review, the scholarship in the area is now much more collegiate, and therequirement on the authors to self-diagnose academic isolation seems to have becomeunnecessary. annette davison, k.j. donnelly and carol vernallis share a plethora of criticalreferences on musicimage

5、relationships, from theodor adorno to philip tagg and manypoints in between.a substantial canon of academic writing on music in narrative film now exists, and it can nolonger be claimed that music video is a scholarly blind spot (as vernallis admits). of thevarious media formats discussed in the boo

6、ks under review, only television music remainsrelatively under-represented academically (though donnellys two chapters on the subjectbegin the process of addressing this absence).in this context, the authors task would appear to be to present alternatives to existingwork, or to bring new objects of

7、study to critical light. all three studies make claims fortheir own originality by referencing a model of classical narrative film music practices: aconceptualization of the soundtracks role as fitting in with classical cinemas perceivedstorytelling priorities. for all the books individual merits, t

8、he regular recourse to notionsof the classical, even in the service of its refutation, raises interesting questions about thepossibility (or impossibility) of doing without such a concept entirely. thus, these worksreveal the classical to be a category as problematic yet insistent in writing onmusic

9、image relations as it is in other areas of screen studies enquiry.更多精品文档 学习-好资料as its title suggests, davisons hollywood theory, non-hollywood practice: cinemasoundtracks in the 1980s and 1990esngages with classical film music theory mostexplicitly. indeed, about a quarter of the book is devoted to

10、the explication of, first,classical hollywood cinema as it has been conceived academically, and second, theclassical scoring practice associated with it (which davison sees revived in the so-calledpost-classical hollywood of the mid 1970s onwards). this provides the ground on whichdavison makes her

11、key claim: the central argument of this book is that, by operating as asignifier of classical and, indeed, new hollywood cinema the classical hollywood scoreoffered those making films outside and on the margins of hollywood cinema in the 1980sand 1990s a further means by which they could differentia

12、te their cinemas fromhollywoods, through the production of scores and soundtracks which critique or refer tothis practice in particular ways (p. 59). there follow close analyses of four films whosesoundtracks, according to davison, refer to the classical model at the same time as theyoffer an altern

13、ative. through her sequencing of the case studies, davison outlinespossibilities of alternative practice that range from a total deconstruction of the classicalsoundtracks conventional storytelling functions (as witnessed in jean-luc godardsprenom: carmen1983) to the identification of a scoring prac

14、tice that mimics certainaspects of the classical in its collaborative nature, yet provides a utopian alternative to it (asseen through david lynchs wild at heart1990). in between, she explores the notion ofthe soundtrack asa liberating force (derek jarmansthe garden1990), and the potentialfor a comp

15、romise to be found between classical and alternative models (wim wenderswings of desire1987).davisons reading of each film is imaginative and very well detailed. she demonstrates aparticular facility for identifying, and ascribing a significance to, different types of soundon the same soundtrack. th

16、is is done with particular success in her readings ofthe gardenand wings of desire. her analysis does not seek to hide her evident musical training, but, innearly all cases, remains intelligible and persuasive to non-musicologists such as myself(who will just have to accept the occasional use of mus

17、ical notation as pretty pictures).it is questionable how much of the extremely comprehensive scene-setting undertaken bydavison in the books early sections is necessary for an appreciation of the individual filmanalyses. nevertheless, her summaries of discussions about classical and post-classicalho

18、llywood cinema and the classical film score are exemplary, and they are conducted witha thoroughness which is understandable, perhaps, in a book which takes its place in thepublishers popular and folk music series rather than in a screen studies collection.there remains a mismatch, however, between

19、the concentration on hollywood as aninstitutional, industrial and ideological force in the early chapters of the book, and theauteurist bent of the analysis that follows in later chapters. for example, the chapter onnew hollywood cinema and (post-?) classical scoring concludes with statisticalinform

20、ation about us cinemas growth in the overseas market during the 1980s. yet thisdetail seems unnecessary in the light of the subsequent interpretation of the variousnon-hollywood soundtracks as imaginativeresponses to mainstream practices on the partof individual filmmakers. the division between desc

21、riptions of hollywood as intransigentlyinstitutional, and the implicit understanding of art-house cinema as a space for the free更多精品文档 学习-好资料expression of the auteur (made explicit in the celebration of lynch in the final case study) ismade too complacently and means that davison does not fulfil her

22、 promise to engage withinstitutional issues in relation to film soundtracks and scores (p. 6) in every case. in thisrespect, the book does not fully realize the potential of its many excellent parts.the critical tone of donnellys the spectre of sound: music in film and televisioanlsofluctuates somew

23、hat from section to section, although the reader is prepared for this bythe authors early claim that the book is a rumination, an investigation of some of theelusive and fascinating aspects of screen music (p. 3) rather than a more strictlyhypothesis-based account.nevertheless, more concrete justifi

24、cation is given for the books attention to a pleasinglyeclectic range of material, which includes the work of canonized auteurs such as davidlynch and stanley kubrick, but also makes room for a discussion of the soundtracks ofspace: 1999, a whole range of horror movies, and the role of music in tele

25、vision continuitysegments. donnelly characterizes screen music as something more intangible than isclaimed in the more classical accounts focusing on the scores overt storytelling functions.inspired, in particular, by the increasingly complex sound design of films produced forrelease in cinemas, don

26、nelly argues: while film music traditionally has been conceived aspart of narration, working for film narrative, in some ways it would be better to see it aspart of the films repository of special effects (p. 2).determined to explore screen musics more unruly qualities (at least when set against ana

27、rrative yardstick), donnelly riffs around notions of musics ghostliness in animaginative manner. particularly in relation to cinema, he sees the haunting activities of thesoundtrack as constituting a kind of sensuous possession of the viewer. donnelly(somewhat contentiously given the mediums technol

28、ogical advances) is less willing toadmit to the possessing capabilities of television soundtracks, but concentrates instead onanother kind of haunting: the habitual use of familiar music in television that evokes thespectre of its lives elsewhere as much as it applies itself to a particular televisu

29、al context.it is the notion of screen music as always indicating another place that most usefully tiesthe different strands of donnellys eclectic study together. through this interest in theelsewhere of screen music, donnelly successfully probes areas outside the reach ofclassical narrative film mus

30、ic theory, which attends to the here and now of the soundtracksinvolvement in a particular fictional scenario. however, the value of the insights whichensue from this successful escape from a more classical approach is sometimes taken forgranted. donnellys analyses as a whole lack the attention to d

31、etail which is one of thevirtues of davisons case studies. the author anticipates this criticism early on byacknowledging that the book provides a “long shot”, allowing the sort of synoptic viewunavailable to detailed analysis, rather than the predominant “close-up” of many precedingfilm music studi

32、es (p. 3).the loss, in terms of analytical depth, that this critical strategy necessitates, is not alwayscompensated for by the books commendable breadth. for example, a relatively sustainedanalysis of lynchs lost highway(1996) is not as convincing as it might be due to anunwillingness to provide su

33、fficient evidence for its claims. on the films heavy use of更多精品文档 学习-好资料pre-existing pop songs, donnelly comments: are these song appearances simplecomments on the action? i dont think so. it is more as if the action emanates from thesongs themselves, particularly from their grain of sound and rhyth

34、mic aspects (p. 28). thisassertion is allowed to fend for itself, in the absence of more particular commentary aboutthe interaction between the action and song in each specific case. the value ofinvestigating screen musics less submissive qualities in relation to narrative principleswould be better

35、advocated through a detailed interpretation that also engages with thepossibility that the soundtrack fulfils more conventional storytelling functions.characterizing the elsewhere of screen music surely becomes more interesting if itsrelationship to other spaces is acknowledged and its own territory

36、 is mapped in detail.vernalliss experiencing music video: aesthetics and cultural contecxotmbines theimaginative facility that fires donnellys book with the attention to detail that characterizesdavisons. her study is extremely comprehensive in fulfilling its promise to take the musicof music video

37、most seriously (p. x), thereby attempting an analysis that takes musicalcodes, processes, and techniques as providing means by which video image can bestructured (p. 209). on one level, as vernallis admits, this is a belated consolidation of theinitiatives taken in andrew goodwins foundational music

38、 television study dancing in thedistraction factory: music television and popular cult.urein its implementation, however,2vernallis far exceeds this brief. there are chapters on narrative and editing, as you mightexpect from a study whose aim it is to deconstruct the form of the music video; lessexp

39、ected is the attention to aspects such as supporting performers, props and the sensualqualities of (aural and visual) space, colour, texture and time.even in the more predictable sections, vernallis explores relationships between song andimage which expand a critical understanding of the music video

40、s possibilities. for instance,in the chapter on editing, she goes far beyond the standard notion that videos cut theirimages to the rhythm of the song, to suggest: obviously, editing can reflect the basic beatpattern of the song, but it can also be responsive to all of the songs other parameters. fo

41、rexample, long dissolves can complement arrangements that include smooth timbres andlong-held tones. a video can use different visual material to offset an important hook or adifferent cutting rhythm at the beginnings and ends of phrases. and, of course, theseeffects can switch from one-to-one relat

42、ionships to something that is more contrapuntal(p. 49). these kinds of expressive possibilities are then illustrated through a great range ofexamples, all analysed with an interpretive richness that makes the inclusion of threeextended case study chapters at the end of the book almost feel like too

43、much of a goodthing.in her afterword, vernallis claims that her book attempts to lay out the basic materials ofmusic video, much as david bordwell and his colleagues do for cinema in the classicalhollywood cinemaor film art (p. 286). experiencing music videowill certainly proveuseful as a textbook,

44、and some of the unnecessary repetition between chapters may beexplained by an expectation that the book will be consulted in separate chunks onindividual weeks of a course rather than as a whole. however, i feel that vernallis is sellingherself short with her comparison. there is an imaginative and

45、idiosyncratic, yetdisciplined, interpretive impulse behind her analysis which the classical hollywood更多精品文档 学习-好资料cinema explicitly rejects. her book has more in common with the poetic categorizations3of sound theorist michel chion or, casting the net more widely, the sensitive responses tothe intri

46、cacies of a filmed fictional world demonstrated by george m. wilsons narration inlight: studies in cinematic point of vie.wboth wilson and vernallis seize on moments4which the authors then seek to explain in relation to their fictional world, whether that be asetting stimulated by dramatic possibili

47、ties, as in the case of narrative film, or musicalparameters, as is the case with the music video. as vernallis states, by attending to thesmallest of moments, it will be possible to work toward seeing how the video buildstoward this moment and moves away from it (p. 202).on a number of occasions, e

48、ven an attentive and immersed critic like vernallis cannotresist the temptation to compare songimage relationships in the music video with theperceived typical conventions of classical cinema and classical narrative film music. thisnecessitates a diversion from the books primary, and most laudable,

49、aim to fullyunderstand the influence of the music of the music video.in all three books, the acknowledgement of a body of film music writing that can becategorized as classical provides evidence of a now mature field of study. this literature isnot always integrated seamlessly with the authors own a

50、rguments. all three works provideilluminating insights into types of screen music that are not accounted for adequately byclassical theory. however, the arguments work best when engaging carefully with thespecific relationships observable and audible in their chosen objects of study, rather thanlook

51、ing over the shoulder towards models of classical narrative film music, or assumingthe value of an analysis simply because it does not fit the classical mould. in the kind oftext-based criticism pursued by all three writers, the most generous kind of critical activitycan also be the most myopic. ver

52、nalliss book, in particular, shows the rewards of a closereading of particular moments, as it produces insights which may inspire the reader tounderstand, in new and surprising lights, not only that moment, but others they encounterthemselves.footnotessimon frith, screen, vol. 41, no. 3 (2000), p. 3

53、35.andrew goodwin, dancing in the distraction factory: music television andpopular culture(minneapolis, mn: university of minneapolis press, 1992).david bordwell, janet staiger and kristin thompson, the classicalhollywood cinema: film style and mode of production to 196(l0ondon:routledge, 1985).更多精品

54、文档 学习-好资料george m. wilson, narration in light: studies in cinematic point of view(baltimore, md: johns hopkins university press, 1986).更多精品文档 学习-好资料好莱坞理论、非好莱坞实践：20 世纪 80 年代至 20 世纪 90 年代的原声带电影 声音的魅力：电影和电视剧中的音乐体验型的音乐视频：美学与文化语境最后一次收集的屏幕与音乐有关的书籍是主题为屏幕的专业评论，评论者是 simon frith，她很感动，并注意到各项工作间的弄巧成拙.需要提请注意的是她们

55、忽视主题以及非常有限的方式，在这种方式中，作者们似乎愿意相互帮助以完成工作。从目前收集到的评论书籍中可以判断，和以前相比，该地区大部分学术成就是分学院的，并且要求对作者进行的自我诊断和学术隔离似乎已经不太成为必要。annette davison、 k.j. donnelly 以及 carol vernallis分享了大量关于音乐形象的批判参照书籍，这些书籍覆盖了从 theodor adorno 到 philiptagg，以及大量两者观点之间的书籍。如今，存在着大量经典的音乐学术作品，这些作品都是基于叙事电影写作的，并且它可以不再声称那个音乐视频是一个学术的盲点 （正如 vernallis 所

56、承认那样）。专业评论角度下，书中讨论的各种媒体格式，只有电视音乐仍然具有相对的学术代表性 （尽管 donnelly的两篇关于这个问题文章开始了解决这种缺失的进程）。在这种情况下，作者的任务似乎已经变成提出可替代目前现有工作的观点，或把新研究对象带到学术界批判的眼光之下。所有三项研究成果都为她们自己学术的原创性做出了声明，而且这些声明都是通过引用经典叙事电影音乐实践模型的方式做出的：一个概念化的原声带的角色，在经典电影中与讲述优先级的感知故事相配合。对于所有书，其每本书的价值在于，即使在其驳斥的论述中也可以引发一种有趣的问题，该问题就是研究中完全不使用这种理论的可行性或不可行性。即经常求助于经典

57、于概念，即使是在事务中驳斥了，引发了可能 （或不可能） 的完全没有这种概念做有趣问题。因此，这些作品成果揭示出 经典 也有可能是一种疑难问题，它一直还运用于音乐形象关系的学术写作中，如同在屏幕学习探索领域的应用一样。如其标题所示， davison 的好莱坞理论，非好莱坞实践：20 世纪 80 年代至 20 世纪90 年代的原声带电影非常明确地运用了经典的电影音乐理论。事实上，大约有四分之一的这本书进行了这样的解释：首先，假设古典好莱坞电影理论已经获得学术上的地位；其次，古典的得分实践与之相联系 （其中 davison 认为在 20 世纪 70 年代中期出现的后古典好莱坞复兴正在继续）。这就为 davison 提出她关键的理论提供了依据这本书的中心论点是，通过操作经典的信号物而且事实上，新好莱坞电影古典好莱坞评分在 1980 年代和 1990 年代提供了进一步制作那些质量在好莱坞电影外面和边缘的电影的手段，她们可以区分她们从好莱坞的电影院，通过产品的分数和配乐她们可以区分自己的电影与好莱坞电影，这