纪录片中英文外文文献翻译Word文件下载.docx

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原文Thenewsreelcommentator,theactor,theintellectual,and

thebroadcaster:

celebrityandpersonalityvoicesinclassicBritish

documentary

Author:

MartinStollery

IndependentResearcher,London,UK

ThispaperexploressomehithertooverlookedintersectionsbetweenBritishdocumentaryofthe1930sand1940sandcelebrityculture.Itdoessothroughtheanalysisofvoice-overcommentaryinarangeofdifferent

filmsfromthisperiod.Wemightbeforgivenforassumingthattherelationshipbetweendocumentaryfilm-makingandthefieldofcelebrityculture,broadlydefined,isafairlyrecenthistoricalphenomenon.Theexamplesthatspringtomindaredocumentariesfrontedbyfilm-makerswhohavebecomecelebrities,suchasMichaelMoore,ornumerousrecentfilmandtelevisiondocumentariesaboutcelebrities.Yettherelationshiphasamuchlonger,multifacetedhistory.Thishistorycanbetracedatleastasfarbackasthelate1930s,theperiodduringwhichtheBritishdocumentaryfilmmovementconsolidated,diversifiedandsubsequentlyplayedanimportantrolewithinwartimeculture.Analysingsomepointsofintersectionwillshednewlightonbothfieldsofresearch.Strategically,thisanalysisalsosupportsanagendaoutlinedbytwocontributorstoanearlierissueofthisjournal.DavidBeerandRuthPenfbld-Mounce（2010）arguethat,althoughtheacademicstudyofcelebritycancapitaliseuponwiderpublicinterestinthistopic,itneedstovigorouslyaddressperceiveddoubtsaboutitsvalue.

Historiansof1930sandwartimeBritishdocumentaryhaveoverlookedorunderestimatedthefactthatmanyofthesefilmsincorporatedintheircommentariescertaintypesofpersonalityandcelebrityvoices.OneofthemainreasonsforthisoversightisthatthestandardnarrativeoftheBritishdocumentaryfilmmovementislargelyconceivedintermsofclassicfilms.Itemphasisestheinfluenceuponthemovementofpreceding,canonisedfilms,suchasNanookoftheNorth（RobertFlaherty,1922）andBattleshipPotemkin（SergeiEisenstein,1926）,followedbythemovement'

sallegedinfluenceuponsubsequentBritishfeaturefilms,forexamplesomeofEalingStudios*wartimeandpost-waroutput.LessattentionhasbeenpaidtoBritishdocumentary'

srelationshipwithothertypesofnon-fictionfilm,suchasnewsreel,ortoothermedia.

ThelackofcloseattentiontocommentaryinBritishdocumentariesofthe1930sand1940sisalsopartlytheconsequenceofwhatStellaBruzzi（2006,p.47）hasdescribedasthepredominance,untilrecently,withinacademicstudies,ofan'

oversimplifiedperceptionofvoice-oversasallinsomemannerpertainingtothemostbasic"

VoiceofGod,,model*.Filmmakerstypicallygivecarefulconsiderationtowhichspecificvoicewillmosteffectivelysupportthetruthclaimsadvancedbyaparticulardocumentary,andwhetheritwillresonatewithaudiencesaffectivelyaswellasintellectually.SimonFrith（1996,pp.192,198）hasargued,inadifferentcontext,thatlisteners4hearvoicesasphysicallyproduced*,andthat'

weusethevoice[...]notjusttoassessaperson,butalso,evenmoresystematically,toassessthatperson'

ssincerity:

thevoiceandhowitisused（aswellaswordsandhowtheyareused）becomeameasureofsomeone'

struthfulness'

.JohnGriersonwouldprobablyhaveagreedwithsociologistRichardSennett'

s（2002,p.4）famousthesisaboutmodemWesternculture'

s'

obsessionwithpersonsattheexpenseofmoreimpersonalsocialrelations\TheBritishdocumentarymovementcanbeunderstoodasaprojectdesignedtousecinematoencourageaudiencestoparticipateinapublicsphereprimarilygovernedbyrationalityandpartlyremovedfrompersonalconcerns.YetGriersonalsostressedtheimportanceofemotionalengagement,andkeenlyappreciatedtheattractionofaudiencestofilmstars.Hewrotein1927,4inthereallysignificantcases,therelationofthestartothepublicistoointimatetobesetdowntothewilesofadvertisementorthenecessitiesofshowmanshipJ（citedinJarvieandMacmillan1989,p.319）.BattleshipPotemkin,ontheotherhand,representedonepossiblealternativetothis4tyrannyofindividualism..."

generalaudiences[...]cheeredtheirwaythroughthefilm"

becauseofthe"

prideofclass"

towhichitappealed*（p.320）.Inhis1934discussionofdocumentarycommentary,Grierson（p.216）arguedthatanintimacysimilartotherelationshipbetweenpublicandfilmstarcouldbeachievedbyusinganonymousrepresentativesoftheworkingclassand/orspecificoccupationalgroupstovoicecommentaries.

Cameron（1944,p.4）didnotexplicitlyendorse'

personality'

commentators,andheaddedacaveat:

documentarysoundrecordists,unlikethoseinfeatures,neededtohave"

scruplesonthescoreofrealism*.Nevertheless,theprofessionalstandardsheespousedstronglyimpliedthat"

properlyt