影视音乐外文文献及翻译

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 “long 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). 好莱坞理论、非好莱坞实践：20

56、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

57、照书籍，这些书籍覆盖了从Theodor Adorno 到 Philip Tagg，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 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

58、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

59、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，这些产品的分数和配乐通过特殊的途径批判或涉及这种实践。 通过对四部电影的配乐的跟踪分析，根据戴维森，指在时间为他们提供另一种同样的经典模型。她通过测序研究的情况，戴维森概述替代实践从总解构经典电影配乐的传统讲故事的功能到一个练习，模仿经典的某些方面在其合作性质的认定范围的可能性，但它提供了一个理想的替代。在这两者之间，她探讨了电影配乐的概念是一种“解放”的力量，在古典与另类的模式之间找到了一种妥协的可能性。戴维森的每部电影里阅读是想象力和非常详细的。她展示了一个特定的识别设备，并赋予不同类型的原声意义。这一点在他的花园和欲望的翅膀完成的特别好。她的分析并不试图隐藏她的明显的音乐训练，但是，在几乎所有的情况下仍然是可