影视音乐外文文献及翻译复习进程

1、Hollywood Theory, Non-H ollywood Practice:Cinema Soundtracks in the 1980s and 1990sThe Spectre of Sound: Music in Film andTelevisi onExperie ncing Music Video: Aesthetics andCultural Co ntextAnn ette Davis on . , Hollywood Theory, Non-H ollywood Practice: Cin ema Soun dtracks inthe 1980s and 1990s.

2、Aldershot: Ashgate, 2004, 221 pp.KJ. Donnelly . , The Spectre of Sound: Music in Film and Television. lLondon: British FilmIn stitute, 2005, 192 pp.Carol Vernallis . , Experie ncing Music Video: Aesthetics and Cultural Con text. New York,NY: Columbia University Press, 2004, 341 pp.Next SectionThe la

3、st time a collecti on of scree n music-related books was the subject of aScree nreview, the reviewer Simon Frith was moved to note each works- defeaieig needto draw atte nti on to their subjects n eglect as well as the very limited manner in whichthe authors seemed to be engaged with each other 1 Ju

4、dging by the .books groupedtogether 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 unn ecessary. Ann ette Davis on, K.J. Donn elly and Carol Vernallis share a plethora of crit

5、ical refere nces on music-image relati on ships, from Theodor Adorno to Philip Taggand many points in betwee n.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 the vario

6、us media formats discussed in the books under review, only television music remains relatively under-represented academically (though Donnellys two chapters on the subject begi n the process of address ing this abse nee).In this con text, the authors task would appear to be to prese nt alter natives

7、 to existi ng work, or to bring new objects of study to critical light. All three studies make claims for th eir own originality by referencing a model of classical narrative film music practices: aconceptualization of the soundtracks role as fitting in with classical cinemas perceived storytell ing

8、 priorities. For all the books in dividual merits, the regular recourse to no ti ons of the classical, eve n in the service of its refutati on, raises in terest ing questi ons about the possibility (or impossibility) of doing without such a con cept en tirely. Thus, these works reveal the classical

9、to be a categoremsipcobit insistent in writing onmusic -image relations as it is in other areas of screen studies enquiry.As its title suggests, Davis onsHollywood Theory, Non-H ollywood Practice: Ci nemaSoun dtracks in the 1980s and 1990sen gages with classical film music theory mostexplicitly .In

10、deed, about a quarter of the book is devoted to the explicati on of, first, Classical Hollywood Cin ema as it has bee n con ceived academically, and sec ond, the classical scori ng practice associated with it (which Davis on sees revived in the so-calledpostclassical Hollywood of the mid 1970s on wa

11、rds). This provides the grou nd onwhich Davis on makes her key claim: The cen tral argume nt of this book is that, byoperati ng as a sig nifier of classicaland, in deed, New Hollywood ci nemathe classicalHollywood score offered those making films outside and on the margins of Hollywood cinema in the

12、 1980s and 1990s a further means by which they could differentiate their cin emas from Hollywoods, through the producti on of scores and sou ndtracks whichcritique or refer to this practice in particular ways (p. 59). There follow close an alyses of four films whose sou ndtracks, accord ing to Davis

13、 on, refer to the classical model at the same time as they offer an alter native. Through her seque ncing of the case studies, Davis on outl ines possibilities of alter native practice that range from a total dec on structi on of the classical sou ndtracks conven ti onal storytell ing fun cti ons (a

14、s wit nessed in Jea n-Luc Godards Prenom: Carme n 1983) to the ide ntificati on of a scor ing practice that mimics certain aspects of the classical in its collaborative nature, yet provides a utopia n alter native to it (as see n through David Lyn chsWild at Heart 1990).In betwee n, she explores the

15、 no ti on of the sou ndtrack asa liberati ng force (DerekJarmans The Garden 1990), and the potential for a compromise to be found between classical and alter native models (Wim Wen dersWings of Desire 1987).Daviso ns read ing of each film is imag in ative and very well detailed. She dem on strates a

16、 particular facility for ide ntify ing, and ascrib ing a sig nifica nce to, differe nt types of sou nd on the same sou ndtrack. This is done with particular success in her read ings ofTheGarden and Wings of Desire . Her analysis does not seek to hide her evident musical tra ining, but, i n n early a

17、ll cases, rema ins in telligible and persuasive to non-musicologists such as myself (who will just have to accept the occasi onal use of musical no tati on as pretty pictures).It is questi on able how much of the extremely comprehe nsive sce ne-sett ing un dertake n by Davis on in the books early se

18、cti ons is n ecessary for an appreciati on of the in dividual film an alyses. Nevertheless, her summaries of discussi ons about classical and post- classical Hollywood cinema and the classical film score are exemplary, and they are con ducted with a thorough ness which is un dersta ndable, perhaps,

19、in a book which takes its place in the publishers Popular and Folk Music series rather than in a screen studies collecti on.There remai ns a mismatch, however, betwee n the concen trati on on Hollywood as an in stituti on al, i ndustrial and ideological force in the early chapters of the book, and t

20、he auteurist bent of the an alysis that follows in later chapters. For example, the chapter onNew Hoywood cinema and (post- ?) classical scoring concludes with statisticalinformation about US cinemas growth in the overseas market during the 1980s. Yet this detail seems unnecessary in the light of th

21、e subsequent interpretation of the various non-H ollywood sou ndtracks asimagi nativeresp on ses to mai nstream practices on thepart of individual filmmakers. The division between descriptions of Hollywood as intran sige ntly in stituti on al, and the implicit un dersta nding of art-house cin ema as

22、 a space for the free expression of the auteur (made explicit in the celebration of Lynch inthe final case study) is made too complace ntly and means that Davis on does not fulfil her promise to engage with institutional issues in relation to film soundtracks and scores6) in every case. In this resp

23、ect, the book does not fully realize the pote ntial of its manyexcelle nt parts.The critical tone of DonnellysThe Spectre of Sound: Music in Film and Televisionalsofluctuates somewhat from secti on to secti on, although the reader is prepared for this bythe authors early claim that the book is a rum

24、 in ati on, an in vestigati on of some of theelusive and fasc in ati ng aspects of scree n music(p. 3) rather tha n a more strictlyhypothesis-based accou nt.Nevertheless, more con crete justificati on is give n for the books atte nti on to a pleas in gly eclectic range of material, which includes th

25、e work of canonized auteurs such as David Lynch and Stanley Kubrick, but also makes room for a discussi on of the sou ndtracks of Space: 1999 , a whole range of horror movies, and the role of music in television con ti nuity segme nts. Donn elly characterizes scree n music as someth ing more intan g

26、iblethan is claimed in the more classical accounts focusing on the scores overt storytelling fun cti ons. In spired, in particular, by the in creas in gly complex sou nd desig n of films produced for release in cin emas, Donn elly argues: While film music traditi on ally has bee nconceived as part o

27、f narration, working for film narrative, in some ways it would be better to see it as part of the films repository of special effects (p. 2).Determ ined to explore scree n musics morenarrative yardstick), Donnelly riffs around notions of musicsunrulyqualities (at least whe n set aga inst a ghostl in

28、 ess in animaginative 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 conten tiously give n the mediums tech no logical adva nces) is less willi ng toadmit to the possess ing

29、 capabilities of televisi on sou ndtracks, but concen trates in steadon another kind of haunting : the habitual use of familiar music in television that evokeslives elsewhere as much as it applies itself to a particudtevlisualthe spectre of its con text.It is the no ti on of scree n music as always

30、in dicat ing ano ther place that most usefully ties the differe nt stra nds of Donn ellys eclectic study together. Through this in terest in the elsewhereof screen music, Donnelly successfully pro bes areas outside the reach of classical narrative film music theory, which attends to the here and now

31、 of the soundtracks involvement in a particular fictional scenario. However, the value of thein sights which en sue from this successful escape from a more classical approach is sometimes take n for gran ted. Donn ellys an alyses as a whole lack the atte nti on to detail which is one of the virtues

32、of Davis ons case studies. The author an ticipates this criticism early on by ack no wledgi ng that the booka provdeshot” , allow ing the sort ofsynoptic view unavailable to detailed analysis, rather than the predominant- up ” ofcloseThe loss, in terms of analytical depth, that this critical strateg

33、y necessitates, is not alwayscompe nsated for by the books comme ndable breadth. For example, a relativelysusta ined an alysis of Lyn chs Lost Highway (1996) is not as convincing as it might be dueto an unwillingness to provide sufficient evidence for its claims. On the films heavy useof pre-existi

34、ng pop son gs, Donn elly comme nts: Are these song appeara nces simplecomme nts on the acti on ? I dont think so. It is more as if the acti on ema nates from thesongs themselves, particularly from their gra in of sou nd and rhythmic aspects (p. 28).This assertion is allowed to fend for itself, in th

35、e absence of more particular commentaryabout the in teracti on betwee n the acti on and song in each specific case. The value ofinvestigating screen musics less submissive iquatrtiHsrhativfeaprincipleswould be better advocated through a detailed in terpretati on thatalso en gages with thepossibility

36、 that the sou ndtrack fulfils more conven ti onal storytelli ng fun cti ons.Characterizing the elsewhere of screen music surelyesecore interesting if itsrelati on ship to other spaces is ack no wledged and its own territory is mapped in detail.Ver nalliss Experie ncing Music Video: Aesthetics and Cu

37、ltural Con textcomb ines theimaginative facility that fires Donnellys book with the attention to detail thatcharacterizes Davis ons. Her study is extremely comprehe nsive in fulfilli ng its promise totake the music of music video most seriously(p. x), thereby attempting an analysis thattakes musical

38、 codes, processes, and tech ni ques as provid ing means by which videoimage can be structured(p. 209). On one level, as Vern allis admits, this is a belatedcon solidati on of the in itiatives take n in An drew Goodwi ns foun dati onal music televisi onstudy Dancing in the Distraction Factory: Music

39、Television and Popular Culture.2 In itsimplementation, however, Vernallis far exceeds this brief. There are chapters on narrativeand edit ing, as you might expect from a study whose aim it is to dec on struct the form of the music video; less expected is the atte nti on to aspects such as support in

40、g performers, props and the sensual qualities of (aural and visual) space, colour, texture and time.Eve n in the more predictable secti ons, Ver nallis explores relati on ships betwee n song andimage which expand a critical understanding of the music videos possibilities. Forin sta nce, in the chapt

41、er on edit ing, she goes far bey ond the sta ndard no ti on that videos cut their images to the rhythm of the song, to suggest: Obviously, edit ing can reflect the basic beat pattern of the song, but it can also be responsive to all of the songs other parameters. For example, l ong dissolves can com

42、pleme nt arra ngeme nts that in clude smooth timbres and long-held tones. A video can use different visual material to offset an importa nt hook or a differe nt cutti ng rhythm at the begi nnings and ends of phrases.And, of course, these effects can switch from on e-to-one relati on ships to someth

43、ing that is more con trapu ntal (p. 49). These kinds of expressive possibilities are the n illustrated through a great range of examples, all analysed with an interpretive richness that makes the in clusi on of three exte nded case study chapters at the end of the book almost feel like too much of a

44、 good thing.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 ci nema inThe ClassicalHollywood Cinema or Film Art (p. 286). Experiencing Music Video will certainly proveuseful as a textbook, and so

45、me of the unn ecessary repetiti on betwee n chapters may beexpla ined by an expectati on that the book will be con suited in separate chu nks on in dividual weeks of a course rather tha n as a whole. However, I feel that Ver nallis is selling herself short with her comparison. There is an imaginativ

46、e and idiosyncratic, yet discipli ned, in terpretive impulse beh ind her an alysis whichThe Classical HollywoodCin ema 3 explicitly rejects. Her book has more in com mon with the poetic categorizati ons of sou nd theorist Michel Chion or, cast ing the net more widely, the sen sitive resp on ses to t

47、he in tricacies of a filmed fictio nal world dem on strated by George M. Wils onsNarrati onin Light: Studies in Ci nematic Point of View.4 Both Wils on and Vernallis seize onmoments which the authors then seek to explain in relation to their fictional world, whether that be a sett ing stimulated by

48、dramatic possibilities, as in the case of n arrative film, or musical parameters, as is the case with the music video. As Vernallis states, by atte nding to the smallest of mome nts,it will be possible to work toward see ing how thevideo builds toward this mome nt and moves away from it(p. 202).On a

49、 n umber of occasi ons, eve n an atte ntive and immersed critic like Vernallis cannot resist the temptati on to compare song-mage relati on ships in the music video with theperceived typical conventions of classical cinema and classical narrative film music. Thisn ecessitates a divers ion from the b

50、ooks primary, and most laudable, aim to fully un dersta nd the in flue nee of the music of the music video.In all three books, the ack no wledgeme nt of a body of film music writ ing that can be categorized as classical provides evidenee of a now mature field of study. This literatureis not always i

51、ntegrated seamlessly with the authors own arguments. All three works provide illum in ati ng in sights into types of scree n music that are not accou nted for adequately by classical theory. However, the argume nts work best whe n en gagi ng carefully with the specific relati on ships observable and

52、 audible in their chose n 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 writers, the most gene

53、rous kind of critical activity can also be the most myopic. Vernalliss book, in particular, shows the rewards of a close reading of particular moments, as it produces in sights which may in spire the reader to un dersta nd, in new and surpris ing lights, not only that mome nt, but others they en cou

54、 nter themselves.1. Ian GarwoodPrevious Secti onFoot no tes? Sim on Frith,Screen , vol. 41, no. 3 (2000), p. 335.? An drew Goodw in,Dancing in the Distracti on Factory: Music Televisi onand Popular Culture(Minn eapolis, MN: Uni versity of Minn eapolis Press,1992).? David Bordwell, Janet Staiger and

55、Kristin Thompson,The ClassicalHollywood 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 Hopki ns Un iversity Press, 1986).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

56、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照书籍， 这些书籍覆盖了从 Theodor Ad

57、orno 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用经典叙事电影音乐

58、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Davis on提出她关键的理论提供