影视音乐体验型的音乐视频美学与文化语境大学毕业论文英文文献翻译及原文Word文档下载推荐.docx
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体验型的音乐视频:
美学与文化语境
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2017.02.14
HollywoodTheory,Non-HollywoodPractice:
CinemaSoundtracksinthe1980sand1990s
TheSpectreofSound:
MusicinFilmandTelevision
ExperiencingMusicVideo:
AestheticsandCulturalContext
AnnetteDavison.,HollywoodTheory,Non-HollywoodPractice:
CinemaSoundtracksinthe1980sand1990s.Aldershot:
Ashgate,2004,221pp.
K.J.Donnelly.,TheSpectreofSound:
MusicinFilmandTelevision.lLondon:
BritishFilmInstitute,2005,192pp.
CarolVernallis.,ExperiencingMusicVideo:
AestheticsandCulturalContext.NewYork,NY:
ColumbiaUniversityPress,2004,341pp.
NextSection
Thelasttimeacollectionofscreenmusic-relatedbookswasthesubjectofaScreenreview,thereviewerSimonFrithwasmovedtonoteeachwork'
s‘self-defeating…needtodrawattentiontotheirsubject'
sneglect’aswellastheverylimitedmannerinwhichtheauthorsseemed‘tobeengagedwitheachother’.1Judgingbythebooksgroupedtogetherinthepresentreview,thescholarshipintheareaisnowmuchmorecollegiate,andtherequirementontheauthorstoself-diagnoseacademicisolationseemstohavebecomeunnecessary.AnnetteDavison,K.J.DonnellyandCarolVernallisshareaplethoraofcriticalreferencesonmusic–imagerelationships,fromTheodorAdornotoPhilipTaggandmanypointsinbetween.
Asubstantialcanonofacademicwritingonmusicinnarrativefilmnowexists,anditcannolongerbeclaimedthatmusicvideoisascholarlyblindspot(asVernallisadmits).Ofthevariousmediaformatsdiscussedinthebooksunderreview,onlytelevisionmusicremainsrelativelyunder-representedacademically(thoughDonnelly'
stwochaptersonthesubjectbegintheprocessofaddressingthisabsence).
Inthiscontext,theauthors'
taskwouldappeartobetopresentalternativestoexistingwork,ortobringnewobjectsofstudytocriticallight.Allthreestudiesmakeclaimsfortheirownoriginalitybyreferencingamodelof‘classical’narrativefilmmusicpractices:
aconceptualizationofthesoundtrack'
sroleasfittinginwithclassicalcinema'
sperceivedstorytellingpriorities.Forallthebooks'
individualmerits,theregularrecoursetonotionsoftheclassical,evenintheserviceofitsrefutation,raisesinterestingquestionsaboutthepossibility(orimpossibility)ofdoingwithoutsuchaconceptentirely.Thus,theseworksrevealthe‘classical’tobeacategoryasproblematicyetinsistentinwritingonmusic–imagerelationsasitisinotherareasofscreenstudiesenquiry.
Asitstitlesuggests,Davison'
sHollywoodTheory,Non-HollywoodPractice:
CinemaSoundtracksinthe1980sand1990sengageswithclassicalfilmmusictheorymostexplicitly.Indeed,aboutaquarterofthebookisdevotedtotheexplicationof,first,ClassicalHollywoodCinemaasithasbeenconceivedacademically,andsecond,theclassicalscoringpracticeassociatedwithit(whichDavisonseesrevivedintheso-called‘post-classical’Hollywoodofthemid1970sonwards).ThisprovidesthegroundonwhichDavisonmakesherkeyclaim:
Thecentralargumentofthisbookisthat,byoperatingasasignifierofclassical–and,indeed,NewHollywoodcinema–theclassicalHollywoodscoreofferedthosemakingfilmsoutsideandonthemarginsofHollywoodcinemainthe1980sand1990safurthermeansbywhichtheycoulddifferentiatetheircinemasfromHollywood'
s,throughtheproductionofscoresandsoundtrackswhichcritiqueorrefertothispracticeinparticularways(p.59).Therefollowcloseanalysesoffourfilmswhosesoundtracks,accordingtoDavison,refertotheclassicalmodelatthesametimeastheyofferanalternative.Throughhersequencingofthecasestudies,Davisonoutlinespossibilitiesofalternativepracticethatrangefromatotaldeconstructionoftheclassicalsoundtrack'
sconventionalstorytellingfunctions(aswitnessedinJean-LucGodard'
sPrenom:
Carmen[1983])totheidentificationofascoringpracticethatmimicscertainaspectsoftheclassicalinitscollaborativenature,yetprovidesautopianalternativetoit(asseenthroughDavidLynch'
sWildatHeart[1990]).Inbetween,sheexploresthenotionofthesoundtrackasa‘liberating’force(DerekJarman'
sTheGarden[1990]),andthepotentialforacompromisetobefoundbetweenclassicalandalternativemodels(WimWenders'
WingsofDesire[1987]).
Davison'
sreadingofeachfilmisimaginativeandverywelldetailed.Shedemonstratesaparticularfacilityforidentifying,andascribingasignificanceto,differenttypesofsoundonthesamesoundtrack.ThisisdonewithparticularsuccessinherreadingsofTheGardenandWingsofDesire.Heranalysisdoesnotseektohideherevidentmusicaltraining,but,innearly