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

1、体验型的音乐视频：美学与文化语境文献、资料英文题目：文献、资料来源：文献、资料发表（出版）日期：院 （部）： 专 业：班 级：姓 名：学 号：指导教师：翻译日期： 2017.02.14Hollywood 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.

2、, Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 1980s and 1990s. Aldershot: 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 Cul

3、tural Context. New York, NY: Columbia University Press, 2004, 341 pp. Next SectionThe 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 works self-defeating need to draw attention to their subjects neglect as well

4、 as the very limited manner in which the authors seemed to be engaged with each 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 un

5、necessary. Annette Davison, K.J. Donnelly and Carol Vernallis share a plethora 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 cla

6、imed that music video is a scholarly blind spot （as Vernallis admits）. Of the various media formats discussed in the books under review, only television music remains relatively under-represented academically （though Donnellys two chapters on the subject begin the process of addressing this absence）

7、. In this context, the authors task would appear to be to present 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

8、soundtracks role as fitting in with classical cinemas perceived 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 withou

9、t such a concept entirely. Thus, these works reveal 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, Davisons Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 19

10、80s and 1990s engages with classical film music 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 rev

11、ived in the so-called post-classical Hollywood 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 m

12、aking films outside and on the margins of Hollywood cinema in the 1980s and 1990s a further means by which they could differentiate their cinemas from Hollywoods, through the production of scores and soundtracks which critique or refer to this practice in particular ways （p. 59）. There follow close

13、analyses of four films whose soundtracks, 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 sound

14、tracks conventional storytelling functions （as witnessed in Jean-Luc Godards 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 Lynchs Wild at Heart

15、 1990）. In between, she explores the notion of the soundtrack as a liberating force （Derek Jarmans The Garden 1990）, and the potential for a compromise to be found between classical and alternative models （Wim Wenders Wings of Desire 1987）. Davisons reading of each film is imaginative and very well

16、detailed. She 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 nearly