影视音乐外文文献及翻译教学内容

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高中音乐《影视音乐》优质教案、教学设计

高中音乐《影视音乐》优质教案、教学设计

高中音乐《影视音乐》优质教案、教学设计一、教学内容本节课选自高中音乐教材《音乐鉴赏》第四章《影视音乐》。

具体内容包括:了解影视音乐的概念、功能和分类;学习影视音乐的基本创作手法;欣赏和分析经典影视音乐作品。

二、教学目标1. 让学生了解影视音乐的基本概念、功能和分类,提高音乐鉴赏能力。

2. 培养学生通过音乐感知、分析影视作品情感和氛围的能力。

3. 激发学生对影视音乐的兴趣,提高音乐素养。

三、教学难点与重点教学难点:影视音乐的基本创作手法及其在作品中的运用。

教学重点:影视音乐的概念、功能和分类;经典影视音乐作品的欣赏和分析。

四、教具与学具准备1. 教具:多媒体设备、钢琴、黑板、PPT课件。

2. 学具:笔记本、教材。

五、教学过程1. 导入:通过播放经典影视作品片段,让学生初步感受影视音乐的魅力,引出本节课的主题。

过程细节:播放《泰坦尼克号》主题曲《My Heart Will Go On》片段,引导学生关注音乐与画面的关系。

2. 基本概念:介绍影视音乐的概念、功能和分类。

过程细节:讲解影视音乐的背景知识,结合实例进行分析。

3. 作品欣赏:欣赏经典影视音乐作品,分析其创作手法。

过程细节:播放《哈利·波特与魔法石》主题曲《Hedwig's Theme》,引导学生从旋律、和声、节奏等方面进行分析。

4. 课堂实践:分组讨论,让学生尝试为一段影视片段创作音乐。

过程细节:为学生提供一段无音乐的影视片段,分组进行创作实践。

5. 例题讲解:分析一道影视音乐创作题目。

过程细节:讲解题目要求,分析创作思路,展示解答过程。

6. 随堂练习:让学生尝试为一段影视片段选择合适的音乐。

过程细节:提供多个音乐选项,让学生根据片段情感和氛围进行匹配。

六、板书设计1. 板书《影视音乐》2. 板书内容:(1)影视音乐的概念、功能、分类(2)经典影视音乐作品欣赏(3)影视音乐创作手法分析(4)实践环节:为影视片段创作音乐七、作业设计1. 作业题目:为一段影视片段创作音乐,并说明创作思路。

影视视频剪辑外文文献翻译字数3000多

影视视频剪辑外文文献翻译字数3000多

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影视音乐外文文献及翻译

影视音乐外文文献及翻译

Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 1980s and 1990s The Spectre of Sound: Music in Film and TelevisionExperiencing Music Video: Aesthetics and Cultural ContextAnnette Davison. , 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 Cultural 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 work's ‘self-defeating … need to draw attention to their subject's neglect’ as well as the very limited manner in w hich 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 unnecessary. Annette Davison, K.J. Donnelly and Carol Vernallis share a plethora of critical references on music–image 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 claimed 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 Donnelly's two chapters on the subject begin the process of addressing this absence).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 soundtrack's role as fitting in with classical cinema's 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 without such a concept entirely. Thus, these works reveal the ‘classical’ to be a category as problematic yet insistent in writing on music–image relations as it is in other areas of screen studies enquiry.As its title suggests, Davison's Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 1980s 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 revived 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 making 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 Hollywood's, through the production of scores and soundtracks which critique or refer to this practice in particular ways (p. 59). There follow close 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 soundtrack's conventional storytelling functions (as witnessed in Jean-Luc Godard's 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 Lynch's Wild at Heart [1990]). In between, she explores the notion of the soundtrack as a ‘liberating’ force (Derek Jarman's The Garden [1990]), and the potential for a compromise to be found between classical and alternative models (Wim Wenders' Wings of Desire [1987]).Davison's reading of each film is imaginative and very well 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 all cases, remains intelligible and persuasive to non-musicologists such as myself (who will just have to accept the occasional use of musical notation as pretty pictures).It is questionable how much of the extremely comprehensive scene-setting undertaken by Davison in the book's early sections is necessary for an appreciation of the individual film analyses. Nevertheless, her summaries of discussions about classical and post-classical Hollywood cinema and the classical film score are exemplary, and they are conducted with a thoroughness which is understandable, perhaps, in a book which takes its place in the publisher's Popular and Folk Music series rather than in a screen studies collection.There remains a mismatch, however, between the concentration on Hollywood as an institutional, industrial and ideological force in the early chapters of the book, and the auteurist bent of the analysis that follows in later chapters. For example, the chapter on ‘New Hollywood cinema and (post-?) classical scoring’ concludes with statistical information about US cinema's growth in the overseas market during the 1980s. Yet this detail seems unnecessary in the light of the subsequent interpretation of the various non-Hollywood soundtracks as imaginative responses to mainstream practices on thepart of individual filmmakers. The division between descriptions of Hollywood as intransigently institutional, and the implicit understanding of art-house cinema as a space for the free expression of the auteur (made explicit in the celebration of Lynch in the final case study) is made too complacently and means that Davison does not fulfil her promise to engage ‘with institutional issues in relation to film soundtracks and scores’ (p.6) in every case. In this respect, the book does not fully realize the potential of its many excellent parts.The critical tone of Donnelly's The Spectre of Sound: Music in Film and Television also fluctuates somewhat from section to section, although the reader is prepared for this by the author's early claim that the book is ‘a rumination, an investigation of some of the elusive and fascinating aspects of screen music’ (p. 3) rather than a m ore strictly hypothesis-based account.Nevertheless, more concrete justification is given for the book's attention to a pleasingly eclectic range of material, which includes the work of canonized auteurs such as David Lynch and Stanley Kubrick, but also makes room for a discussion of the soundtracks of Space: 1999, a whole range of horror movies, and the role of music in television continuity segments. Donnelly characterizes screen music as something more intangible than is claimed in the more classical accounts focusing on the score's overt storytelling functions. Inspired, in particular, by the increasingly complex sound design of films produced for release in cinemas, Donnelly argues: While film music traditionally has been conceived as part of narration, working for film narrative, in some ways it would be better to see it as part of the film's repository of special effects (p. 2).Determined to explore screen music's more ‘unruly’ qualities (at least when set against a narrative yardstick), Donnelly r iffs around notions of music's ‘ghostliness’ in an imaginative 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 contentiously given the medium's technological advances) is less willing to admit to the possessing capabilities of television soundtracks, but concentrates instead on another kind of ‘haunting’: the habitual use of familiar music in television that evokes the spectre of its ‘lives’ elsewhere as much as it applies itself to a particular televisual context.It is the notion of screen music as always indicating another place that most usefully ties the different strands of Donnelly's eclectic study together. Through this interest in the‘elsewhere’ of screen music, Donnelly successfully probes areas outside the reach of classical narrative film music theory, which attends to the here and now of the soundtrack's involvement in a particular fictional scenario. However, the value of the insights which ensue from this successful escape from a more classical approach is sometimes taken for granted. Donnelly's analyses as a whole lack the attention to detail which is one of the virtues of Davison's case studies. The author anticipates this criticism early on by acknowledging that the book ‘provides a “long shot”, allowing the sort of synoptic view unavailable to detailed analysis, rather than the predominant “close-up” of many preceding film music studies’ (p. 3).The loss, in terms of analytical depth, that this critical strategy necessitates, is not always compensated for by the book's commendable breadth. For example, a relatively sustained analysis of Lynch's Lost Highway (1996) is not as convincing as it might be due to an unwillingness to provide sufficient evidence for its claims. On the film's heavy use of pre-existing pop songs, Donnelly comments: Are these song appearances simple‘comments on the action’? I don't think so. It is more as if the action emanates from the songs themselves, particularly from their grain of sound and rhythmic aspects (p. 28). This assertion is allowed to fend for itself, in the absence of more particular commentary about the interaction between the action and song in each specific case. The value of investigating screen music's less ‘submissive’ qualities in relation to narrative principles would be better advocated through a detailed interpretation that also engages with the possibility that the soundtrack fulfils more conventional storytelling functions. Characterizing the ‘elsewhere’ of screen music surely becomes more interesting if its relationship to other spaces is acknowledged and its own territory is mapped in detail.Vernallis's Experiencing Music Video: Aesthetics and Cultural Context combines the imaginative facility that fires Donnelly's book with the attention to detail that characterizes Davison's. Her study is extremely comprehensive in fulfilling its promise to take ‘the music of music video most seriously’ (p. x), thereby ‘attempting an analysis that takes musical codes, processes, and techniques as providing means by which video image can be structured’ (p. 209). On one level, as Vernallis admits, this is a belated consolidation of the initiatives taken in Andrew Goodwin's foundational music television study Dancing in the Distraction Factory: Music Television and Popular Culture.2 In its implementation, however, Vernallis far exceeds this brief. There are chapters on narrative and editing, as you might expect from a study whose aim it is to deconstruct the form of the music video; less expected is the attention to aspects such as supporting performers, props and the sensual qualities of (aural and visual) space, colour, texture and time.Even in the more predictable sections, Vernallis explores relationships between song and image which expand a critical understanding of the music video's possibilities. For instance, in the chapter on editing, she goes far beyond the standard notion that videos cut their images to the rhythm of the song, to suggest: Obviously, editing can reflect the basic beat pattern of the song, but it can also be responsive to all of the song's other parameters. For example, long dissolves can complement arrangements that include smooth timbres and long-held tones. A video can use different visual material to offset an important hook or a different cutting rhythm at the beginnings and ends of phrases. And, of course, these effects can switch from one-to-one relationships to something that is more contrapuntal (p. 49). These kinds of expressive possibilities are then illustrated through a great range of examples, all analysed with an interpretive richness that makes the inclusion of three extended case study chapters at the end of the book almost feel like too much of a good thing.In her afterword, Vernallis claims that her book ‘attempts to lay out the basic materials of music video, much as David Bordwell and his colleagues do for cinema in The Classical Hollywood Cinema or Film Art’ (p. 286). Experiencing Music Video will certainly prove useful as a textbook, and some of the unnecessary repetition between chapters may beexplained by an expectation that the book will be consulted in separate chunks on individual weeks of a course rather than as a whole. However, I feel that Vernallis is selling herself short with her comparison. There is an imaginative and idiosyncratic, yet disciplined, interpretive impulse behind her analysis which The Classical Hollywood Cinema3 explicitly rejects. Her book has more in common with the poetic categorizations of sound theorist Michel Chion or, casting the net more widely, the sensitive responses to the intricacies of a filmed fictional world demonstrated by George M. Wilson's Narration in Light: Studies in Cinematic Point of View.4 Both Wilson and Vernallis seize on‘moments’ which the authors then seek to explain in relation to their fictional world, whether that be a setting stimulated by dramatic possibilities, as in the case of narrative film, or musical parameters, as is the case with the music video. As Vernallis states, by attending to the smallest of moments, ‘it will be possible to work toward seeing how the video builds toward this moment and mov es away from it’ (p. 202).On a number of occasions, even an attentive and immersed critic like Vernallis cannot resist the temptation to compare song–image relationships in the music video with the perceived ‘typical’ conventions of classical cinema and classical narrative film music. This necessitates a diversion from the book's primary, and most laudable, aim to fully understand the influence of the music of the music video.In all three books, the acknowledgement of a body of film music writing that can be categorized as ‘classical’ provides evidence of a now mature field of study. This literature is not always integrated seamlessly with the authors' own arguments. All three works provide illuminating insights into types of screen music that are not accounted for adequately by classical theory. However, the arguments work best when engaging carefully with the specific relationships observable and audible in their chosen 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 generous kind of critical activity can also be the most myopic. Vernallis's book, in particular, shows the rewards of a close reading of particular moments, as it produces insights which may inspire the reader to understand, in new and surprising lights, not only that moment, but others they encounter themselves.1.Ian GarwoodPrevious SectionFootnotes《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。

高中音乐《影视音乐(1)》优质教案、教学设计

高中音乐《影视音乐(1)》优质教案、教学设计

高中音乐《影视音乐(1)》优质教案、教学设计《影视音乐》教案一、授课课题:《影视音乐》二、授课年级:高一年级三、授课课时:1 课时四、教学目标:1、通过音乐与画面的结合,体会音乐在影片中的作用;2、通过多部优秀影视作品及音乐的赏析,培养学生的想象力与创造力;3、通过欣赏、演唱影视音乐,激起学生对影视音乐的浓厚兴趣,增强对影视音乐的感性认识,能够关注影视中的音乐。

五、教学重点与难点:1、感受月鉴赏方面,要求学生通过影视音乐的欣赏,了解音乐在影视中的重作用;2、在音乐创造方面,要求学生能根据教材提供的材料参与音乐活动创编和表演,并能在活动中担任一定的角色,创造性地表现音乐。

六、教学过程:1、导入:(谈话导入)师:同学们,听过这首歌吗?这首歌曲的名字是《致青春》,是前一段时间热播电影《致我们即将逝去的青春》的主题曲,赵薇导演,王菲演唱。

那么还有哪些电影电视剧的歌曲让你们记忆深刻的?生:《西游记》《水浒传》《葫芦娃》···(学生自由畅谈)(师生共同回忆经典)下面老师来演唱三首歌曲片段,同学们回忆一下是不是听过。

(幻灯片)一首是《我爱你,中国》,它是影片《海外赤子》的主题曲,一首是《让我们荡起双桨》,是影片《祖国的花朵》里的插曲。

所以有的时候一首优秀影视歌曲带给我们的影响力要远远大于这部影视本身给我们带来的影响。

这就是影视音乐的魅力。

好,同学们,那么我们今天就来欣赏和了解一下影视音乐,首先,请问同学们在你们的概念中什么是影视音乐?其实非常简单,通过字面,我们可以想到影视音乐就是电影电视中的音乐。

影视音乐来源于影视,是作曲家在看了影片后,根据影片的基调创作出来的,用以表达影片画面情绪、补充画面内涵、辅助画面传达艺术理念的艺术形式。

可以说影视音乐伴随着整部影片。

2、新课讲授音乐是什么时候进入电影的呢?我们就来了解影视音乐的发展历程第一、默片第二、起飞第三、专业化那么我们中国也有很多为影视作曲的音乐家,如王黎光、赵季平音乐进入电影以后,成为电影这个综合艺术的有机部分,是一种新的音乐体裁,它以各种形式出现在影视作品中。

高中音乐《影视音乐》优质教案、教学设计1

高中音乐《影视音乐》优质教案、教学设计1

高中音乐《影视音乐》优质教案、教学设计一、教学内容本节课选自高中音乐教材《影视音乐》章节,详细内容包括影视音乐的定义、分类、功能以及影视音乐与影视画面的关系。

重点分析经典影视作品中的音乐运用,如《泰坦尼克号》、《拯救大兵瑞恩》等。

二、教学目标1. 让学生了解影视音乐的基本概念、分类和功能,提高音乐鉴赏能力。

2. 通过分析经典影视作品中的音乐运用,培养学生对影视音乐的感知力和审美能力。

3. 激发学生对音乐创作的兴趣,提高学生的音乐创作能力。

三、教学难点与重点重点:影视音乐的定义、分类、功能以及与影视画面的关系。

难点:分析影视音乐在作品中的具体运用及其作用。

四、教具与学具准备教具:多媒体设备、黑板、粉笔学具:笔记本、教材五、教学过程1. 导入:播放经典影视作品《泰坦尼克号》主题曲,让学生感受影视音乐的魅力,引导学生进入课堂主题。

2. 理论讲解:介绍影视音乐的定义、分类、功能以及与影视画面的关系。

3. 实践分析:a. 播放电影《泰坦尼克号》片段,让学生分析音乐在片段中的作用。

b. 播放电影《拯救大兵瑞恩》片段,让学生分析音乐与画面的关系。

5. 随堂练习:分组讨论,让学生选取一部熟悉的影视作品,分析音乐在其中的作用,并进行课堂分享。

六、板书设计1. 影视音乐的定义、分类、功能2. 影视音乐与画面的关系3. 经典影视作品音乐分析七、作业设计1. 作业题目:分析电影《阿甘正传》中的音乐运用,包括音乐在影片中的功能、与画面的关系等。

2. 答案:电影《阿甘正传》中的音乐以钢琴为主,表现了阿甘坚定的信念和执着的精神。

音乐在影片中起到了渲染气氛、表达情感、推进剧情等作用。

八、课后反思及拓展延伸1. 反思:本节课通过实践情景引入、例题讲解、随堂练习等方式,让学生对影视音乐有了更深入的了解。

但在课堂互动方面,可以进一步加强,提高学生的参与度。

2. 拓展延伸:鼓励学生在课后观看更多影视作品,关注音乐在其中的运用,提高音乐鉴赏能力。

英文电影中的音乐赏析作文

英文电影中的音乐赏析作文

英文电影中的音乐赏析作文The music in English movies is an essential elementthat adds depth and emotion to the storytelling. It enhances the overall cinematic experience and helps the audience connect with the characters and their emotions. The music in these films can range from catchy pop tunes to orchestral scores, each serving a unique purpose.In some movies, the music is used to create a specific atmosphere or set the tone for a particular scene. For example, in action movies, fast-paced and intense music is often used during chase sequences or fight scenes to heighten the excitement and adrenaline. This type of music typically features heavy drums, electric guitars, and high-energy melodies that keep the audience on the edge of their seats.On the other hand, in romantic movies, the music tends to be more melodic and sentimental. It often features soft piano or acoustic guitar melodies accompanied by heartfeltlyrics. This type of music helps to evoke emotions of love and longing and enhances the romantic mood of the film. It can also be used to emphasize key moments in the story, such as the first kiss or a heartfelt confession of love.In addition to setting the mood, music in English movies is also used to enhance storytelling and character development. For example, a character's theme music can be used to signify their presence or reflect their personality traits. This recurring musical motif helps the audience to identify and connect with the character on a deeper level. It can also be used to foreshadow certain events or add suspense to the narrative.Furthermore, the use of popular songs in English movies is a common practice. These songs are often used to convey the emotions and thoughts of the characters or to reflect the cultural context of the film. When a well-known song is played in a movie, it can instantly evoke memories and emotions in the audience, creating a powerful connection between the film and its viewers.In conclusion, the music in English movies plays a crucial role in enhancing the storytelling, setting the mood, and connecting the audience with the characters and their emotions. Whether it's a catchy pop tune, a romantic melody, or a character's theme music, each piece of music serves a unique purpose and adds depth to the overall cinematic experience. So next time you watch an English movie, pay close attention to the music and how it enhances the story being told.。

《影视音乐》教案(精选4篇)

《影视音乐》教案(精选4篇)

《影视音乐》教案(精选4篇)《影视音乐》篇1课程名称:欣赏《辛德勒的名单》主题曲、《眺望你的路途》、《伴随着你》三维目标:1、情感、态度、价值观:通过欣赏三首音乐作品,培养学生对影视音乐的重视,提高兴趣,感受音乐的重要作用,从而提高他们的欣赏水平。

2、过程与方法:欣赏、体验、感受3、知识与技能:体验音乐旋律在不同音乐演奏带来的不同效果、节奏型变化、伴奏体变化引起的不同感受。

教学重点: 体验三首乐曲在影片中的作用。

教学难点: 分辨不同音乐表现形式产生的不同音乐效果。

教学准备:多媒体、音视频资料、黑板、课本、粉笔教学过程:教学导入、欣赏与讲解、课程总结教师活动学生活动一、教学导入同学们,你们喜欢看电影吗?有谁关注过电影中的音乐?今天我来带领大家欣赏几首电影中的音乐。

二、欣赏与讲解(一)欣赏《辛德勒的名单》(1)播放电影音乐片段(无声),给学生提供三段音乐,让学生聆听并讨论哪一段是电影原声。

第一段:主题音乐;第二段:具有恐慌紧张气氛的音乐;第三段:旋律纯净、节奏简单的童声合唱。

(2)与学生交流,探讨选择的理由。

让学生思考音乐在电影中的作用,分享音乐情绪。

(3)讲解音乐小提琴三次奏音乐主题:①中低音区:上下起伏、如泣如诉;②高八度反复:省思、缅怀;③低音区:人们内心的痛苦、奋争、期盼。

(二)欣赏《眺望你的路途》1、讲解《放牛班的春天》这部电影的故事情节,播放主题旋律为伴奏的电影片段。

2、与学生交流,探讨音乐情绪、音乐在影片中的作用。

(三)欣赏《伴随着你》1、播放音乐,带领学生感受音乐情绪。

2、讲述电影《天空之城》的故事情节。

3、再次欣赏并讲解音乐段落,引导学生重视、关注音乐在电影中的表现作用。

小结:这节课我们一起欣赏了三段影视音乐,相信大家对电影音乐有了一定的了解和认识,希望在以后再去观看电影、电视时,大家能够对它的音乐多有一些关注和理解。

作业:熟悉音乐主题回答欣赏、思考、讨论思考、探讨回答学习、辨析了解故事梗概欣赏主题音乐欣赏、感受了解故事情节欣赏、思考板书设计:影视音乐《辛德勒的名单》主题音乐《眺望你的路途》《伴随着你》:《影视音乐》教案篇2第五单元影视音乐教学内容:学唱歌曲《让我们荡起双桨》。

影视音乐教案

影视音乐教案

影视音乐教案教案名称:影视音乐欣赏教案目标:1. 了解影视音乐的定义、分类及其在电影、电视剧中的作用。

2. 学习如何欣赏影视音乐,在观影时更加注重背景音乐的表现力。

3. 培养学生的音乐鉴赏能力和分析能力,提高他们对影视音乐的理解和欣赏水平。

教案内容:1. 影视音乐的定义和分类a. 影视音乐是指为影视作品所创作的音乐,它包括背景音乐(Background Music)和主题曲(Theme Song)。

b. 背景音乐是为了增强场景氛围、表达角色情感以及制造紧张或悬疑感等而创作的音乐,常常以纯音乐或交响乐的形式存在。

c. 主题曲是对于影视作品整体风格和主题的诠释,通常由歌手演唱,带有歌词和旋律。

2. 影视音乐的作用a. 增强氛围:通过音乐的编排和运用,为影视作品营造出特定的氛围,如紧张、悲伤、浪漫等。

b. 表达情感:音乐可以通过旋律、节奏和音色等来表达角色的情感,增强观众对角色的共情。

c. 引导情节:音乐可以引导观众对情节的理解和感受,通过音乐的节奏和变化来引导观众的情绪起伏。

3. 影视音乐欣赏的方法a. 注重开场音乐:影视作品的开场音乐往往能够给观众带来强烈的感受,因此要仔细聆听开场音乐所传达的信息。

b. 注意转场音乐:转场音乐可以提示观众场景的变化,也能够让观众更加投入到故事情节中。

c. 感受角色音乐:每个角色都有自己的音乐主题,通过聆听角色音乐可以更好地理解和感受角色的性格和情感。

d. 分析配乐:欣赏影视音乐时,可以尝试从旋律、节奏、音色等方面分析音乐所表达的情感和意义。

教学活动:1. 听音识曲:播放一段影视音乐,让学生尝试猜测出该曲目所属的影视作品,并简要解释影视音乐在该作品中的作用。

2. 观影音乐笔记:要求学生在观看影视作品时,记录下其中引起他们注意的音乐部分,并写下自己的感受和理解。

3. 分析音乐剧情:选取一段影视音乐,放映时将音频部分取消,让学生根据只有视觉的情况,分析出音乐所表达的情感和剧情。

人音版(2019) 必修《音乐鉴赏》 6.12 外国影视音乐 教案

人音版(2019) 必修《音乐鉴赏》 6.12 外国影视音乐 教案

外国影视音乐【教学目标】1.能够对影视音乐的意义和作用有初步的了解。

2.加强对于影视音乐的欣赏能力和鉴赏水平。

3.通过欣赏本课的影视音乐从中获得丰富的体验与审美的享受。

【教学过程】一、新课导入播放歌曲:《My Heart Will Go On》(我心依旧)1997年推出的经典电影《泰坦尼克号》的主题曲是《My Heart Will Go On》(我心依旧),由加拿大女歌手席琳·迪翁演唱,而这首歌一经推出就成了永恒的经典,也获奖无数。

许多外国的优秀影视音乐作品往往随着影视的热播走进中国、走近我们。

今天就让我们来学习外国影视音乐。

二、新课讲授(一)影视音乐1.功能:在影视作品中,有很多优秀的音乐作品,这些作品往往与影视作品的情节、场景紧密相连,以表现主人公的心情或烘托气氛为主要目的。

影视音乐与屏幕上的影像同步呈现,使得影片具有动力和连续感,并且暗示了情绪、气氛、角色和戏剧情节。

它可以使一个场景的意义变得明晰,也能强化场景对观众视觉与听觉的刺激感。

2.分类:按照音乐在影视中的作用,影视音乐可以分为主题曲、插曲、主题音乐、场景音乐、背景音乐等。

(二)作品鉴赏1.星球大战①教师进行作品介绍。

(1)乐曲作品介绍:《星球大战》主题曲是约翰·威廉姆斯于1977年创作的,作为一个时代的标志,《星球大战》让观众看到了一个将视觉和听觉结合的典范。

这部作品是目前被各种音乐会演奏次数最多的电影音乐,也是被反复录音次数最多的电影音乐。

至于它的各种改编版本、精选版本,更是多得无法统计。

(2)乐曲作者介绍:约翰·威廉姆斯(1932—),钢琴家、指挥家、作曲家。

从20世纪50年代开始参与电影音乐工作,1971年以《屋顶上的提琴手》首获奥斯卡奖。

威廉姆斯创作了大量优秀的作品,其中大家耳熟能详的音乐有《辛德勒的名单》《大白鲨》《哈利·波特》等。

②欣赏乐曲并赏析。

这首作品采用交响乐队配乐,乐曲开始由铜管乐器和三角铁等打击乐器奏出节奏音型,此后小号号角般地吹出了主题,在向观众展示星际的绚烂和浩瀚的同时,也成功地烘托出人物的性格特征,赋予了影片所未有的宏伟、壮观之感。

最新最全影视音乐教案(完整版

最新最全影视音乐教案(完整版

最新最全影视音乐教案(完整版一、教学内容1. 影视音乐的定义与功能2. 影视音乐的分类:主题音乐、背景音乐、歌曲等3. 影视音乐与影视画面的关系:同步、对位、游离等4. 经典影视音乐作品分析:《泰坦尼克号》、《教父》、《哈利·波特》等二、教学目标1. 让学生了解并掌握影视音乐的基本概念、分类及功能2. 培养学生欣赏和分析影视音乐与影视画面的关系的能力3. 提高学生对经典影视音乐作品的鉴赏能力,激发学生对音乐的热爱三、教学难点与重点1. 教学难点:影视音乐与影视画面的关系,经典影视音乐作品分析2. 教学重点:影视音乐的基本概念、分类及功能,欣赏和分析影视音乐与影视画面的关系四、教具与学具准备1. 教具:多媒体设备、钢琴、黑板2. 学具:教材、笔记本、笔五、教学过程1. 导入:通过播放经典影视片段,引导学生关注影视音乐,激发学生学习兴趣。

2. 讲解:介绍影视音乐的定义、分类及功能,结合实例进行分析。

3. 实践:分组讨论,让学生分析影视音乐与影视画面的关系,分享心得。

4. 例题讲解:以《泰坦尼克号》主题曲为例,讲解影视音乐与影视画面的同步关系。

5. 随堂练习:让学生观看《教父》片段,分析其背景音乐的特点。

7. 课堂拓展:欣赏其他经典影视音乐作品,如《哈利·波特》主题曲等。

六、板书设计1. 影视音乐的定义与功能2. 影视音乐的分类主题音乐背景音乐歌曲3. 影视音乐与影视画面的关系同步对位游离七、作业设计《泰坦尼克号》主题曲《教父》背景音乐《哈利·波特》主题曲八、课后反思及拓展延伸1. 反思:本节课学生参与度较高,但对影视音乐与画面关系的理解仍有待加强,今后教学中需加强实例分析。

2. 拓展延伸:鼓励学生在课后观看更多经典影视作品,关注影视音乐,提高音乐素养。

同时,开展影视音乐创作活动,激发学生的创造力。

重点和难点解析1. 影视音乐与影视画面的关系2. 经典影视音乐作品分析3. 作业设计中的实例分析一、影视音乐与影视画面的关系影视音乐与画面的关系是本教案的核心内容,理解这一关系对于学生欣赏和分析影视作品具有重要意义。

影视音乐赏析论文

影视音乐赏析论文

《影视音乐赏析》学院:经济治理学院班级:14农林经济治理学号:姓名:一、音乐简介《my heart will go on》中文名《我心永久》,闻名爱情电影Titanic《泰坦尼克号》主题曲,由好莱坞主流电影闻名作曲家詹姆斯·霍纳(James Horner)一手制作。

加拿大女歌手席琳·迪翁(Celine Dion)演唱,发行于1998年。

收录于《Let's Talk About Love》和Titanic(《泰坦尼克号》原声带)两专辑中。

Celine Dion的代表作,也是世界上最为人所熟知的歌曲之一。

具有浓郁民族韵味的爱尔兰锡哨,登上多国单曲榜第一名,是世界上最畅销的单曲之一。

取得第70届奥斯卡最正确电影歌曲大奖,第41届格莱美奖,最正确影视媒体作品歌曲,席琳·迪翁取得最正确流行女歌手。

中文名译为《我心永久》、《我心依旧》、《爱无止境》、《心与你相依》,意大利语名:il mio cuore va。

作为电影Titanic(中文名《泰坦尼克号》)的主题曲和片尾曲,Celine Dion的代表作,也是世界上最为人所熟知的歌曲之一。

它在美国、英国、法国、比利时、澳大利亚、丹麦、瑞士等多个国家/地域单曲榜,是世界上最畅销的单曲之一。

具有浓郁民族韵味的爱尔兰锡哨,精致编排,尽显悠扬婉转而又凄美动人。

歌曲的旋律从最初的平缓到激昂,再到缠绵悱恻的高潮,一直到最后荡气回肠的悲剧尾声,短短四分钟的歌曲事实上是整部影片的浓缩版本。

歌曲由韦尔·杰宁斯(Will Jennings )作词,中文歌词由中国今世童话作家王雨然译作,粤语版《系我心弦》由香港女歌手叶倩文演唱。

二、作曲家简介詹姆斯·罗伊·霍纳(James Roy Horner,1953年8月14日-2021年6月22日),美国闻名音乐人、作曲家,好莱坞最负盛名的电影配乐大师,诞生于加利福尼亚州洛杉矶。

影视视频剪辑外文文献翻译字数3000多

影视视频剪辑外文文献翻译字数3000多

文献出处:Belk R. The research of film and television video editing techniques [J]. Qualitative Market Research: an international journal, 2016, 8(2): 132-141.原文The research of film and television video editing techniquesBelk RAbstractVideo clip is indispensable to film and television art important constituent, it to a certain extent determines the communication effect of film and television works. Practice has proved that the mature video editing skills can make the film and television work more attractive. Based on the video clip of the related theory on the basis of further explore some video clips of the skill. The film and television works has become the general public today to be reckoned with in the important part of everyday life. The French cafes in Paris the limier brothers showed his first film and television works, marked the film was born. But when the limier brothers just use camera to record what happened around, didn't realize the important role of clips, until the American director Griffith began using a shooting like a shot, video, film and television works of clip art to be the contact and appreciate the people gradually. Keywords: Video; Processing; Skills1 Related conceptsImages, sound clip is the film in a special and meaningful way selection, decomposition and elsewhere, eventually forming a coherent and fluent, clear theme, artistic appeal. A film and television works even if the previous play, shoot picture and sound collection, cast strong enough, but the lack of the improvement of the video clip and packaging, late also unable to produce the desired viewing effect.At the beginning of video clips in general to go through several steps: cutting, after cutting, fine cut, etc. Early shear is based on directed intention, according to a shooting like a copy of material; After cut is on the basis of the initial shear and supplement for the perfection of video for further; Fine cut is editing personnel on double shear repeated verification, examination, on the basis of combining with the special means, the montage and be more careful cutting, after repeated revision,editing video editing techniques to achieve director intention, film narrative and the performance of the double goals are met. Excellent editors on a large number of video clips, to try to grasp the integral style of the works, the intention of the director, programs, etc. Also need to make the film and television works stand out, independent, excellent editing procedure and editing skills. Each clip like people blink an eye, editing final purpose is to meet the needs of the audience and recognition, to work, and ultimately achieve good communication effect.2 TechniquesEditing style, namely video director will own intentions to video editors, editors to show the overall understanding and grasp, eventually form their overall creation idea of editing. Some film let the audience the feeling of being in style is not consistent, most part of the reason is the preparation and editing personnel without a unified style. For the realization of the expected effect of viewing and editing personnel in contact with the video material, must first communicate and choreographer, read a script or a shooting copy, and then choose according to the information unified editing style and make it through the whole video. Clip the ultimate goal is to reach and program, structure, content and form of the theme of the harmonious unification, editors must not throw director intention and the creation of the work itself, according to the individual subjective intend to arrange video editing style along with the gender. Editing style is roughly divided into the following categories:2.1 The traditional editing styleTraditional clip is the basic editing video clip gimmick, it is able to prevent confusion between the lens, the role is to ensure a smooth film and television video conversion, 2 it is to make the film and television works the paragraph is clear, the plot of the narrative time, place, detail and clear, avoid to cause the audience confused feeling. The traditional editing style in film editing the proportion is very big, is also must master the basic skills of editing staff.To grasp the traditional editing style need to pay attention to the following three aspects: first of all, the linkage between the lens directions cannot be disorder. Figurewalking direction, the spatial relationship between the characters to maintain consistent, not because of the transformation of the lens for the confused feeling. For example, to show the characters from the lotus pond in the park to seat walk over and characters from the picture on the left side of the entering and going out from the right, then the next shot, the characters go to the seat should be still from the left into the picture. Otherwise it will let the audience feel a sense of confusion on the vision, especially pursuit, fighting like a lens, etc. Secondly, the change in the lens to be coordinated. The so-called "dynamic", "static", is the video similar material group together in rhythm, form a kind of coordination and stable effect. "Move" is commonly used in the characters' bodies, for example, when a man slapped the other one, a lens is held up his hand before, a camera and then have a fan up continuous motion. Or in the push, pull, shake, shift, with movement in the lens, when the lens is from one scene to another scene, the camera can be directly to switch to another direction, speed close pan, forming a natural transition. "Static" are often used during transitions, two relatively stationary camera can bring harmony on the look and feel, at the same time let the audience play imagination and thinking.Finally, omit unnecessary process.In real life, the audience is familiar with the actions or behaviors, in the process of video editing often can be omitted, only a few key action, form a compact clips of coherent effects.2.2 Creative editing styleCreative editing style aims to improve the effect of the film and television works of art to watch, it including the dramatic effect clip, clip and rhythmic effect clip expressive effect. Dramatic effect clip by changing the lens of sequence and timing, change the lens clips point, finally let each shot in the plot, the best time to bring the audience find everything new and fresh, an Epiphany viewing experience. For example, in the film, props repeatedly appears in the film, it is one of the important props will film to a climax. Expressive effect clip that the whole narrative content in fluency, on the basis of editing combined with their own experience, bold selection, focus some analogy to the lens, so that the film formation reveals a certain meaning, apply colors to a drawing atmosphere effects of editing style. Rhythmic effect cliprefers to the lens time is short, the scene changes quickly, let the audience feel urgency, the effect of psychological tension, this clip effect can't disorderly use, must be combined with the overall structure and the characteristics of the plot to use film.3 The video clips rhythmsThe tempo of the film and television works determines its overall style, some works even depend entirely on the rhythm to infect the audience's emotions and feelings. Editing rhythm to organize various art elements in film and television works effectively, depicting the hero image, create a special artistic conception, and effectively push forward the plot. As a result, the overall pace of film and television works to shape the overall artistic atmosphere, improve work grade having the effect that cannot ignore, even decided to work success or failure, rhythm grasp accurate or not is one of the important factors in evaluating a film and television works.The rhythm of the film can be divided into external and internal rhythm. Internal rhythm refers to the contradiction of the plot itself, the change of character psychology and external rhythm refers to the switching speed of the camera itself, often by means of montage, lenses and other sports. In addition to film the overall rhythm, each fragment, the scene also should have certain rhythm, according to the characters' emotions, drama, image to master, in order to ensure that every scene express a complete and accurate. Editing rhythm of film and television works by images of your body movement rhythm, the rate of movement of the camera, the influence of the length of the lens, transform, the narrative plot and characters in the film and television works mood changes speed to a certain extent, determines the merits of the work.To shoot early photographers according to the director of the creation intention, the overall style of the works and their own professional choice taking lens, on the basis of this formed the basis of film rhythm. After the completion of the preliminary work, editing personnel according to the development of the plot "priorities" to form a relaxation of the editing work. Whether editing rhythm, the rhythm of the film as a whole, or the rhythm of the film passage between, to ensure that all of the appropriateness of rhythm, can't let the audience psychological uncomfortable feeling.But throughout the whole style doesn't mean the whole works always keep the same pace, but rather too appropriately according to the plot unfolds, the formation of the climax of paragraphs and low, as the pace of the film to the audience emotional fermentation. In the film "run Lola run", the three paragraphs respectively represents the three end of Laura and her boyfriend, revealed many details of life often different events that can lead to the final result. Film, Laura lost money trying to save for her boyfriend, she's crazy running lens to form a kind of fast rhythm, at the same time, the roller run of the camera and turn the lens in the clock on the wall switch, enhanced narrative sense of urgency and the sense of crisis, the audience cannot help for the lens the fate of the characters in the tension and fear.4 Apply video clip gimmickPicture like a clever can form special effects, editing, from the video images through a meaningful set, you can generate a constant association and the feeling that find everything new and fresh. The film inception, for example, in like manner, using a variety of means of montage, bring the audience into a special trip to fantasy. Like a smooth way between lens, lens the link between the way there are a lot of, for example, fade, fade in, dissolve, to make use of the means to make smooth and natural to switch between scenes, also can be used directly to the switch, jump cut, flashbacks, make the film forming a rhythm quickly, strong impact effect.译文影视视频剪辑技巧研究Belk R摘要视频剪辑是电影、电视艺术不可或缺的重要组成部分,它在一定程度上决定了影视作品的传播效果。

外文文献及外文翻译 1

外文文献及外文翻译 1

The Stereo Garage1.1 An overview of the stereo garageVehicles parked nowhere is the problem of the urban social, economic and transport development to a certain extent the result, Garage Equipment development in foreign countries, especially in Japan nearly 30-40 years. Whether technically or in terms of experience had been a success. China is also in the beginning of the 1990s developed mechanical parking equipment, which was 10 years in the past. Because a lot of new residents in the district with the ratio of 1:1. To address the size of parking spaces for tenants and business areas contradictions 3D mechanical parking equipment with an average size of a small motorcycle's unique characteristics, the majority of users have been accepted.Compared with the traditional natural underground garage, Machinery garage demonstrates its superiority in many respects. First, the mechanical garage has a prominent section of superiority. Past due to the underground garage must elapse enough lanes, the average car will occupy an area of 40 square meters, If the use of double-mechanical garage, which would enable ground to improve the utilization rate of around 80% to 90%, If using ground multi-storey (21 storey), three-dimensional garage, 50 square meters of land area will be placed on the 40 cars, which can greatly save the limited land resources, Civil and save development costs.To underground garage, Mechanical garage can be more effective to ensure personal and vehicle safety in the garage or car kept prospective location, the entire electronic control equipment would not operate. It should be said that the mechanical garage from the management can do a thorough separation of people and vehicles.In the underground garage using mechanical parking, it also can remove the heating ventilation; therefore, Operation of the power consumption than workers in the management of underground garage is much lower. Mechanical garage don't usually do complete system, but as a single machine containers. This will give full play to its small space, the advantages of decentralized, Each of the residential areas or groups downstairs to make a complete circuit can be set up random mechanicalparking building. This garage of the district can solve the shortage of parking difficulty in providing convenient conditions right now.Currently, three-dimensional garage mainly in the following forms: lifting and transferring,aisle stacking garage, vertical garage, vertical cycle, box-level cycle, the level of circulating round.1.1.1 Lifting and transferringLifting and transferring Garage modular design, each module can be designed into two, three, four levels, the five-story, semi-submerged in various forms, such as the number of parking spaces from a few to hundreds. Three-dimensional garage applies to the ground and underground car parks, configuration flexibility and cost is low.1. Product features:1) Save land, the configuration flexibility, and shorter construction period.2) Low prices, firefighting and exterior decoration, with a total investment on small foundations.3) Use automatic control, simple structure, safe and reliable.4) Access to a quick, short waiting time.5) Run a smooth, low noise.6) Applies to commercial, offices, and residential quarters supporting the use of car parks.2. Safety devices: anti-dropping device, a photoelectric sensor, spacing protectors, emergency stop switch.1.1.2 Aisle stacking garageAisle stacking garage used as a stacking machine tool access vehicles. All vehicles are stacking machine access, so the technical requirements for stacker higher, a single stacker cost is higher. So aisle stacking apply to the parking garage needs a few more customers.1.1.3 Vertical GarageVertical Garage Elevator similar to the principle that both sides of the hoist layout spaces. Generally need a ground vehicle rotary tables can be saved by the driver away. Vertical Garage generally higher high (tens of meters), safety equipment, Installation precision machining requirements are very high, high cost, but has the smallest area.1.1.4 Vertical cycleProduct features:1) covers an area of small; two berths area can stop 6-10 vehicles.2) The decoration can be added only roof, fire hydrants available.3) Low prices, foundation, external decoration, fire and other small investment, short construction periods.4) Use automatic control, safe and reliable operation.2.2.1 The stereo garage automatic control systemThe modern large-scale building mainstream is intelligent mansion and community. So, automated parking equipment or garage automatic control system will become intelligent mansion and an important part of community. Simple, fast, easy to use, safe, reliable, and less maintenance, to provide users with a safe, easy to use environment, This is auto-parking feature of the basic equipment. All parking equipment operating conditions, vehicles parked in time, vehicle storage Malaysia, garage storage capacity. Vehicles kept high and low peaks, and other information can be transmitted through the network of intelligent control center through intelligent control center operator, and the broadcasting system and the management office of the Division linked related to early release control, management information, thus achieving all the intelligent management. Building and the Community through the intelligent control of the center could also associate with social networking functions. Information released to the collection coming out or expands utilization of the garage social and economic benefits. This will be the automation of the development direction of the garage. Solid Garage automation control system include the following five major subsystems: automatic toll collection management system automatic access systems for remote diagnosis system, automatic Gate, control security system.Subsystems are more unified control of the central control room, for customers planning Garage form of management, Published garage inventory capacity, traffic control program.2.1.1 Automatic Toll Management SystemAutomatic charge adopts contactless IC card. IC card points long-term card and the stored-card. For fixed users, the issue of long-term cards, the cost of fixed users pays management fees paid together; on the temporary users, issue stored-value cards, namely: the user feespaid cards exist within each parking card reader automatically deducted from the cost.2.1.2 Automatic vehicle access systemAutomatic vehicle access system is generally controlled by small PLC. Including the identification card number and mobile disc contains two cars process. Users enter the garage at the entrance to Swiping cards, reader data automatically transmitted to the PLC control system, PLC system through the judgment card number and automatically set the corresponding site mobile trucks and vehicles to the handover location, the garage door opened, shorten the time access to cars. Truck drivers light signals in accordance with the guidelines created only when vehicles parked in a safe location, Parking will be normal light-Kai. Access car after the completion of the garage doors shut down automatically. Mobile site contains car, the system in strict accordance with the various signal detection mobile state, including long signal detection, Detection in place, the position detection limit, officers hit detection, emergency stop signal detection. If cars are running plate is not in place or vehicle length in excess of the permitted length of the garage, all vehicles disc will contain no action, If detected emergency stop signal to stop all action until the emergency stop signal disappeared. Above signals are hardware signals, in addition, the software can also be installed to control signal protection, such as the protection of the time, to ensure that the damage due to hardware failure to signal equipment and the main guarantee for the safety of vehicles.2.1.3 Remote diagnosis systemControllers can spot card, hubs and other network equipment and control center connected to the LAN, MODEN through remote management, monitoring the operation of the scene, when the scene failure, in the control center can be addressed to facilitate the management, e-office security personnel.2.1.4 Automatic GateIn the garage entrance of the no-contact reader, and the Gate of coil users in the garage entrances Swiping cards, the system automatically discriminates validity of the card, if valid, the Gateopen automatically, through induction coils, Automatic self-closing fence; If invalid, the Gate is not open, and sound and light alarm.2.1.5 Monitoring security systemMonitoring security system is in the central control room for monitoring and controlling the operation of the garage scene conditions. It has motion detection, license plate recognition, network connections, different types of alarm systems linkage, and other functions, can be achieved unguarded.System catalog:Video monitoring function : the garage entrances, and the duty, the main segments within the garage installation focusing cameras, On the larger spaces installation spherical platforms, in order to achieve all-round garage on real-time monitoring. If the garage light conditions of the poor would use black-and-white cameras.Motion Detection functions: setting up the night in the garage of motion detection region, detecting when there are a moving target, Motion Detection and Alarm function remind staffs.LPR functions: it can set up the garage light vehicle license plates, vehicle. When the light vehicles entering the garage regional surveillance, the system automatically cross-referenced with images of a very odd situation, issued a warning signal and automatic switching and record their images.Alarm linkage functions: all can move even the police mainframe, if activated Relay acousto-optic warning issued notice of security personnel to voluntarily disarm Gate interception of vehicular access.Digital video functions : it with a continuous record of what happened in the garage, can be synchronized intervals over images arbitrary choice of the overall image to enlarge and local amplification, recording, playback, backup can be conducted all kinds of information.Reportedly, has begun an increasing number of residential quarters began to use a mechanical garage. Taking into account the cost and maintenance, the majority of the district is a multi-storey lifting and transferring parking equipment, mass storage mechanical garage also rarely. Lifting and transferring Garage Equipment parking flow indicate the following:1、The sense of light yellow instructions garage operationRed lamp was ongoing operating instructions, please wait; Green light is currently no operating instructions, can operate; yellow light instructions were to fail, the garage can not work.2、The operationDrivers of vehicles enter from the garage entrance. At the entrance of non-contact sensors Reader former regional shaken following their IC cards, induction process completed, the fence automatically rises driver drove into the garage. The fence shut down automatically after vehicles entering. Card is the controller to read spaces, corresponding to the parking garage containing cars moved to the site automatically transfer vehicle location, Automatic garage door open units. Car drivers entering and parking in place, Latin hand brake, alighted out of the garage, using IC cards in the garage exit Huang about IC cards Garage door modules to shut down automatically. Completed deposit truck operators.3、Collect the car operationDrivers entering the garage at the entrance to the non-contact sensors Reader former regional shaken following their IC cards Controller automatically read spaces, corresponding to the parking garage containing cars moved to the site automatically transfer vehicle location, Automatic garage door open modules, drivers entering the garage and drive out, in the garage exit of the automatic reader before induction regional dazzle your own IC cards, sensors finished, the reader receive information, Host controller automatically recorded, prepaid, automatically raising the fence, the driver drove the playing field, appeared after fencing to shut down automatically. Meanwhile, Controller automatically read spaces, corresponding to the garage door unit shut down automatically. Vehicle operation finished.The garage has a complete self-protection device in the course of operation. A series of photoelectric switches, proximity switches, trip switches and other vehicles on site contains accurate operation in place to play a decisive role; falling unique defense installations, broken rope warning device, speeding vehicle protection device to protect the security role played. Detection of long vehicles, vehicle parking is not in place detection, and personnel into a detection signal of vehicles and the safety play a decisive role.翻译立体车库1.1 立体车库概述车辆无处停放的问题是城市的社会、经济、交通发展到一定程度产生的结果,立体停车设备的发展在国外,尤其在日本已有近3040年的历史,无论在技术上还是在经验上均已获得了成功。

《音画交响——影视音乐》外国影视音乐 第二课时

《音画交响——影视音乐》外国影视音乐 第二课时

外国影视音乐教材分析《星球大战》主题曲是星球大战组曲中的第一首,由约翰•威廉姆斯于1977年创作,这首作品气势恢宏,采用交响乐队配乐,乐曲开始由铜管乐器和三角铁等打击乐器奏出节奏音型,此后小号号角般地吹出了主题,在向观众展示星际的绚烂和浩瀚的同时,也成功地烘托出人物的性格特征。

为回旋曲式,表情标记“Maestoso",即庄严之意,多处使用三连音的节奏型,奏出催人奋进的时代旋律。

《艾米莉的华尔兹》是电影《天使艾米莉》片尾曲。

本部分配乐是欢快的手风琴版。

辅助以少见的三角铁。

传统乐器的搭配,使影片的音乐带有甜美、温馨的情调,处处体现了巴黎的热情和浪漫。

该片尾曲为三拍子,a小调,变奏曲式。

学情分析影视音乐对于高中生而言并不陌生,而充满兴趣,不过在平时观影的同时,对影视音乐的重视程度不够,对于影视配乐中手法更是了解不多,通过本节课的学习,让大家了解影视作品和影视配乐的关系,同时认识变奏的创作手法及“音乐主题”在影视配乐中的应用。

教学目标基于新课程标准的要求,我确立了本节课的学习目标。

1.审美感知:通过聆听《星球大战》主题曲和《天使艾米莉)片尾曲,感知旋律、节奏、速度、音色等音乐要素在音乐中的作用,体验音乐美感,领悟作品表现意图:探索影视音乐的音响与画面的关系,认识影视音乐的特点和影视音乐的功能。

2.艺术表现:通过聆听《星球大战》主题曲,演唱主题乐谱,把握作品的节奏,总结规律。

聆听《天使艾米莉》片尾曲,理解和熟悉变奏曲在塑造艺术形象和表达情感方面的手法,以及不同乐器组合的音色对表现音乐的作用。

3.文化理解:学习、理解世界其他国家和民族的优秀音乐文化,拥有尊重文化多样性的人文情怀,理解世界多元化的共存对人类文化发现的必然性和重要性,树立文化自信。

教学重难点教材目标的确立,结合教材分析和学生的情况,我设立了该课的重难点,重点:欣赏分析《星球大战》主题和《艾米莉的华尔兹》,感知旋律、节奏、速度、音色等音乐要素在音乐中的作用。

[实用参考]《影视音乐赏析》论文

[实用参考]《影视音乐赏析》论文

《影视音乐赏析》学院:经济管理学院班级:14农林经济管理学号:姓名:一、音乐简介《mPheartwillgoon》中文名《我心永恒》,著名爱情电影Titanic《泰坦尼克号》主题曲,由好莱坞主流电影著名作曲家詹姆斯·霍纳(JamesHorner)一手制作。

加拿大女歌手席琳·迪翁(CelineDion)演唱,发行于1998年。

收录于《Let'sTalkAboutLove》和Titanic(《泰坦尼克号》原声带)两专辑中。

CelineDion的代表作,也是世界上最为人所熟知的歌曲之一。

具有浓烈民族韵味的爱尔兰锡哨,登上多国单曲榜第一位,是世界上最畅销的单曲之一。

获得第70届奥斯卡最佳电影歌曲大奖,第41届格莱美奖,最佳影视媒体作品歌曲,席琳·迪翁获得最佳流行女歌手。

中文名译为《我心永恒》、《我心依旧》、《爱无止境》、《心与你相依》,意大利语名:ilmiocuoreva。

作为电影Titanic(中文名《泰坦尼克号》)的主题曲和片尾曲,CelineDion的代表作,也是世界上最为人所熟知的歌曲之一。

它在美国、英国、法国、比利时、澳大利亚、丹麦、瑞士等多个国家/地区单曲榜,是世界上最畅销的单曲之一。

具有浓烈民族韵味的爱尔兰锡哨,精巧编排,尽显悠扬婉转而又凄美动人。

歌曲的旋律从最初的平缓到激昂,再到缠绵悱恻的高潮,一直到最后荡气回肠的悲剧尾声,短短四分钟的歌曲实际上是整部影片的浓缩版本。

歌曲由韦尔·杰宁斯(WillJennings)作词,中文歌词由中国当代童话作家王雨然译作,粤语版《系我心弦》由香港女歌手叶倩文演唱。

二、作曲家简介詹姆斯·罗伊·霍纳(JamesRoPHorner,1953年8月14日-2015年6月22日),美国著名音乐人、作曲家,好莱坞最负盛名的电影配乐大师,出生于加利福尼亚州洛杉矶。

他两次获得奥斯卡音乐奖(1997年因《泰坦尼克号》获得奥斯卡最佳原创音乐奖和奥斯卡最佳原创歌曲奖),并且11次获得提名。

人音版(2019)必修《音乐鉴赏》6.12外国影视音乐教案

人音版(2019)必修《音乐鉴赏》6.12外国影视音乐教案
教学过程
首先,让我们一起来探索《音乐鉴赏》中关于外国影视音乐的世界。在这个单元,我们将重点关注音乐如何与影视画面相互交融,以及它如何为电影故事增添色彩。
1. 导入新课(5分钟)
同学们,我们已经学习过不少音乐作品,今天我们将把目光投向一个特别的地方——外国影视音乐。我想请大家回想一下,你们最喜欢的电影或电视剧中,有没有哪一段音乐给你们留下了深刻的印象?现在,让我们一起来分享这些美好的回忆。
人音版(2019) 必修《音乐鉴赏》 6.12 外国影视音乐 教案
主备人
备课成员
教材分析
本节课选自人音版(2019)必修《音乐鉴赏》6.12节“外国影视音乐”。教材内容精选了不同时期、不同国家的外国影视音乐作品,旨在让学生通过欣赏、分析,了解影视音乐的风格特点及其在影片中的作用。本章节着重探讨了音乐与画面的关系、音乐在影视作品中的功能以及影视音乐的艺术价值。教学内容与学生的实际生活紧密相关,有助于提高学生的音乐鉴赏能力,培养其艺术素养。通过对本章节的学习,学生将能更好地理解和欣赏外国影视音乐,激发他们对音乐艺术的热爱。
3. 在实践活动前,为学生提供更多关于音乐素材选择和搭配的指导,以提高创作质量。
4. 尝试采用更多互动性强的教学方法,鼓励学生积极参与课堂讨论。
5. 优化板书设计,增强艺术性和趣味性,提高学生的学习兴趣。
学习者分析
1. 学生已经掌握了音乐鉴赏的基本方法,对音乐的基础知识有了一定的了解,能够识别不同乐器的音色和基本的音乐结构。在学习本课程前,学生已经接触过一些国内外的音乐作品,对外国音乐有一定的认识。
2. 学生普遍对影视音乐感兴趣,尤其对流行电影的主题曲和配乐表现出较高的热情。他们具备一定的听觉感知能力,但在深入分析音乐元素和影视画面的结合上,需要进一步引导和训练。学生的学习风格多样,有的喜欢合作讨论,有的偏向独立思考。

影视音乐教案

影视音乐教案

影视音乐教案一. 教学目标1. 了解影视音乐的基本概念和作用;2. 能够分析影视音乐的表现手法和音乐与影像的关系;3. 通过实践活动,提升对影视音乐的鉴赏能力;4. 提高学生对音乐的审美能力和创造力。

二. 教学重点1. 影视音乐的基本概念和作用;2. 影视音乐表现手法的分析;3. 音乐与影像的关系。

三. 教学内容1. 影视音乐的基本概念和作用:影视音乐指的是用于电影、电视剧等影视作品中的音乐。

它具有以下几个作用:- 营造氛围:影视音乐可以通过选取合适的音乐作品,为影片创造特定的情感氛围,增强观众的代入感和情感共鸣。

- 表达情感:影视音乐可以通过旋律、节奏、音色等音乐要素来表达角色的情感变化和剧情的发展。

- 引导观众:影视音乐可以通过改变音乐的节奏、音量等来引导观众对场景的注意力,从而加强剧情的表达和传达。

- 突出片段:影视音乐可以通过将音乐与留白相结合,突出某些影片中的关键情节和场景。

2. 影视音乐表现手法的分析:- 旋律的变化:影视音乐中的旋律是表现情感和剧情的重要手段。

通过旋律的起伏、高低音域的运用等,可以表达人物的喜怒哀乐、紧张与激动等情感变化。

- 音乐的节奏和速度:通过掌握音乐的节奏和速度,可以调动观众的情感和注意力。

快速的节奏和速度常常用于表现紧张的场景,而缓慢的节奏和速度则常常用于展现悲伤或沉思的氛围。

- 音乐的音色和声部:不同的音色和声部可以为影视作品带来不同的效果。

明亮清脆的音色常常用于表现喜悦和欢乐,而低沉嘶哑的音色则常常用于表现紧张和恐惧。

- 音乐的音量和音域:通过调节音乐的音量和音域,可以实现对场景的感染和引导。

高音量和广阔音域常常用于营造宏大的场面和强烈的情感表达,而低音量和狭小音域则常常用于营造安静和内敛的氛围。

3. 音乐与影像的关系:音乐与影像在影视作品中是相互依存、相互配合的关系。

通过选取合适的音乐作品,可以为影像增添情感和意义,通过对音乐和影像的协调运用,可以使影视作品达到更好的艺术效果。

《第四单元外国影视音乐欣赏照亮你的路》教案

《第四单元外国影视音乐欣赏照亮你的路》教案
在讲授理论部分,我尽量用生动的语言和具体的案例进行分析,帮助学生理解影视音乐的基本概念。然而,我意识到在讲解过程中,对于一些专业术语的解释可能还不够通俗易懂,导致部分学生难以跟上教学节奏。因此,我考虑在今后的教学中,针对这些专业术语,可以结合生活实例进行讲解,让学生更容易理解和接受。
实践活动环节,学生们分组讨论和实验操作的积极性很高,但我也注意到,在实验操作过程中,有些小组对音乐的选取和搭配不够恰当。这说明学生们在音乐鉴赏和实际应用方面还有待提高。为了帮助学生们更好地掌握这方面的技能,我计划在下一节课中增加一些关于音乐搭配的技巧讲解和实践指导。
3.成果分享:每个小组将选择一名代表来分享他们的讨论成果。这些成果将被记录在黑板上或投影仪上,以便全班都能看到。
(五)总结回顾(用时5分钟)
今天的学习,我们了解了影视音乐的基本概念、重要性和应用。同时,我们也通过实践活动和小组讨论加深了对影视音乐的理解。我希望大家能够掌握这些知识点,并在观看影视作品时更加关注音乐的作用。最后,如果有任何疑问或不明白的地方,请随时向我提问。
3.成果组讨论(用时10分钟)
1.讨论主题:学生将围绕“影视音乐在实际生活中的应用”这一主题展开讨论。他们将被鼓励提出自己的观点和想法,并与其他小组成员进行交流。
2.引导与启发:在讨论过程中,我将作为一个引导者,帮助学生发现问题、分析问题并解决问题。我会提出一些开放性的问题来启发他们的思考。
3.重点难点解析:在讲授过程中,我会特别强调不同国家影视音乐的风格特点及其在影片中的作用这两个重点。对于难点部分,我会通过举例和比较来帮助大家理解。
(三)实践活动(用时10分钟)
1.分组讨论:学生们将分成若干小组,每组讨论一个与影视音乐相关的实际问题,如音乐如何为电影增色添彩。
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Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 1980s and 1990s The Spectre of Sound: Music in Film and TelevisionExperiencing Music Video: Aesthetics and Cultural ContextAnnette Davison. , 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 Cultural 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 work's ‘self-defeating … need to draw attention to their subject's neglect’ as well 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 unnecessary. Annette Davison, K.J. Donnelly and Carol Vernallis share a plethora of critical references on music–image 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 claimed 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 Donnelly's two chapters on the subject begin the process of addressing this absence).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 th eir own originality by referencing a model of ‘classical’ narrative film music practices: a conceptualization of the soundtrack's role as fitting in with classical cinema's 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 without such a concept entirely. Thus, these works reveal the ‘classical’ to be a category as prob lematic yet insistent in writing on music–image relations as it is in other areas of screen studies enquiry.As its title suggests, Davison's Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 1980s 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 revived 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 making 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 Hollywood's, through the production of scores and soundtracks which critique or refer to this practice in particular ways (p. 59). There follow close 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 soundtrack's conventional storytelling functions (as witnessed in Jean-Luc Godard's 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 Lynch's Wild at Heart [1990]). In between, she explores the notion of the soundtrack as a ‘liberating’ force (Derek Jarman's The Garden [1990]), and the potential for a compromise to be found between classical and alternative models (Wim Wenders' Wings of Desire [1987]).Davison's reading of each film is imaginative and very well 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 all cases, remains intelligible and persuasive to non-musicologists such as myself (who will just have to accept the occasional use of musical notation as pretty pictures).It is questionable how much of the extremely comprehensive scene-setting undertaken by Davison in the book's early sections is necessary for an appreciation of the individual film analyses. Nevertheless, her summaries of discussions about classical and post-classical Hollywood cinema and the classical film score are exemplary, and they are conducted with a thoroughness which is understandable, perhaps, in a book which takes its place in the publisher's Popular and Folk Music series rather than in a screen studies collection.There remains a mismatch, however, between the concentration on Hollywood as an institutional, industrial and ideological force in the early chapters of the book, and the auteurist bent of the analysis that follows in later chapters. For example, the chapter on ‘New Ho llywood cinema and (post-?) classical scoring’ concludes with statistical information about US cinema's growth in the overseas market during the 1980s. Yet this detail seems unnecessary in the light of the subsequent interpretation of the various non-Hollywood soundtracks as imaginative responses to mainstream practices on thepart of individual filmmakers. The division between descriptions of Hollywood as intransigently institutional, and the implicit understanding of art-house cinema as a space for the free expression of the auteur (made explicit in the celebration of Lynch in the final case study) is made too complacently and means that Davison does not fulfil her promise to engage ‘with institutional issues in relation to film soundtracks and scores’ (p.6) in every case. In this respect, the book does not fully realize the potential of its many excellent parts.The critical tone of Donnelly's The Spectre of Sound: Music in Film and Television also fluctuates somewhat from section to section, although the reader is prepared for this by the author's early claim that the book is ‘a rumination, an investigation of some of the elusive and fascinating aspects of screen music’ (p. 3) rather than a more strictly hypothesis-based account.Nevertheless, more concrete justification is given for the book's attention to a pleasingly eclectic range of material, which includes the work of canonized auteurs such as David Lynch and Stanley Kubrick, but also makes room for a discussion of the soundtracks of Space: 1999, a whole range of horror movies, and the role of music in television continuity segments. Donnelly characterizes screen music as something more intangible than is claimed in the more classical accounts focusing on the score's overt storytelling functions. Inspired, in particular, by the increasingly complex sound design of films produced for release in cinemas, Donnelly argues: While film music traditionally has been conceived as part of narration, working for film narrative, in some ways it would be better to see it as part of the film's repository of special effects (p. 2).Determined to explore screen music's more ‘unruly’ qualities (at least when set against a narrative yardstick), Donnelly riffs around notions of music's ‘ghostliness’ in an imaginative 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 contentiously given the medium's technological advances) is less willing to admit to the possessing capabilities of television soundtracks, but concentrates instead on another kind of ‘haunting’: the habitual use of familiar music in television that evokes the spectre of its ‘lives’ elsewhere as much as it applies itself to a particular t elevisual context.It is the notion of screen music as always indicating another place that most usefully ties the different strands of Donnelly's eclectic study together. Through this interest in the‘elsewhere’ of screen music, Donnelly successfully pro bes areas outside the reach of classical narrative film music theory, which attends to the here and now of the soundtrack's involvement in a particular fictional scenario. However, the value of the insights which ensue from this successful escape from a more classical approach is sometimes taken for granted. Donnelly's analyses as a whole lack the attention to detail which is one of the virtues of Davison's case studies. The author anticipates this criticism early on by acknowledging that the book ‘provides a “long shot”, allowing the sort of synoptic view unavailable to detailed analysis, rather than the predominant “close-up” of many preceding film music studies’ (p. 3).The loss, in terms of analytical depth, that this critical strategy necessitates, is not always compensated for by the book's commendable breadth. For example, a relatively sustained analysis of Lynch's Lost Highway (1996) is not as convincing as it might be due to an unwillingness to provide sufficient evidence for its claims. On the film's heavy use of pre-existing pop songs, Donnelly comments: Are these song appearances simple‘comments on the action’? I don't think so. It is more as if the action emanates from the songs themselves, particularly from their grain of sound and rhythmic aspects (p. 28). This assertion is allowed to fend for itself, in the absence of more particular commentary about the interaction between the action and song in each specific case. The value of investigating screen music's less ‘submissive’ qualities in relat ion to narrative principles would be better advocated through a detailed interpretation that also engages with the possibility that the soundtrack fulfils more conventional storytelling functions. Characterizing the ‘elsewhere’ of screen music surely becom es more interesting if its relationship to other spaces is acknowledged and its own territory is mapped in detail.Vernallis's Experiencing Music Video: Aesthetics and Cultural Context combines the imaginative facility that fires Donnelly's book with the attention to detail that characterizes Davison's. Her study is extremely comprehensive in fulfilling its promise to take ‘the music of music video most seriously’ (p. x), thereby ‘attempting an analysis that takes musical codes, processes, and techniques as providing means by which video image can be structured’ (p. 209). On one level, as Vernallis admits, this is a belated consolidation of the initiatives taken in Andrew Goodwin's foundational music television study Dancing in the Distraction Factory: Music Television and Popular Culture.2 In its implementation, however, Vernallis far exceeds this brief. There are chapters on narrative and editing, as you might expect from a study whose aim it is to deconstruct the form of the music video; less expected is the attention to aspects such as supporting performers, props and the sensual qualities of (aural and visual) space, colour, texture and time.Even in the more predictable sections, Vernallis explores relationships between song and image which expand a critical understanding of the music video's possibilities. For instance, in the chapter on editing, she goes far beyond the standard notion that videos cut their images to the rhythm of the song, to suggest: Obviously, editing can reflect the basic beat pattern of the song, but it can also be responsive to all of the song's other parameters. For example, long dissolves can complement arrangements that include smooth timbres and long-held tones. A video can use different visual material to offset an important hook or a different cutting rhythm at the beginnings and ends of phrases. And, of course, these effects can switch from one-to-one relationships to something that is more contrapuntal (p. 49). These kinds of expressive possibilities are then illustrated through a great range of examples, all analysed with an interpretive richness that makes the inclusion of three extended case study chapters at the end of the book almost feel like too much of a good thing.In her afterword, Vernallis claims that her book ‘attempts to lay out the basic materials of music video, much as David Bordwell and his colleagues do for cinema in The Classical Hollywood Cinema or Film Art’ (p. 286). Experiencing Music Video will certainly prove useful as a textbook, and some of the unnecessary repetition between chapters may beexplained by an expectation that the book will be consulted in separate chunks on individual weeks of a course rather than as a whole. However, I feel that Vernallis is selling herself short with her comparison. There is an imaginative and idiosyncratic, yet disciplined, interpretive impulse behind her analysis which The Classical Hollywood Cinema3 explicitly rejects. Her book has more in common with the poetic categorizations of sound theorist Michel Chion or, casting the net more widely, the sensitive responses to the intricacies of a filmed fictional world demonstrated by George M. Wilson's Narration in Light: Studies in Cinematic Point of View.4 Both Wilson and Vernallis seize on‘moments’ which the authors then seek to explain in relation to their fictional world, whether that be a setting stimulated by dramatic possibilities, as in the case of narrative film, or musical parameters, as is the case with the music video. As Vernallis states, by attending to the smallest of moments, ‘it will be possible to work toward seeing how the video builds toward this moment and moves away from it’ (p. 202).On a number of occasions, even an attentive and immersed critic like Vernallis cannot resist the temptation to compare song–image relationships in the music video with the perceived ‘typical’ conventions of classical cinema and classical narrative film music. This necessitates a diversion from the book's primary, and most laudable, aim to fully understand the influence of the music of the music video.In all three books, the acknowledgement of a body of film music writing that can be categorized as ‘classical’ provides evidence of a now mature field of study. This literature is not always integrated seamlessly with the authors' own arguments. All three works provide illuminating insights into types of screen music that are not accounted for adequately by classical theory. However, the arguments work best when engaging carefully with the specific relationships observable and audible in their chosen 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 generous kind of critical activity can also be the most myopic. Vernallis's book, in particular, shows the rewards of a close reading of particular moments, as it produces insights which may inspire the reader to understand, in new and surprising lights, not only that moment, but others they encounter themselves.1.Ian GarwoodPrevious SectionFootnotes《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。

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