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