影视音乐美学与文化语境中英文对照外文翻译文献

中英文对照外文翻译文献
(文档含英文原文和中文翻译)
Experiencing Music Video: Aesthetics and Cultural Context
The 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 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‟ Hollyw ood 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 the part 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 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 afterwor d, 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 be explained 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.4Both 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 see ing 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 perce ived …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.
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。

从目前收集到的评论书籍中可以判断，和以前相比，该地区大部分学术成就是分学院的，并且要求对作者进行的自我诊断和学术隔离似乎已经不太成为必要。

Annette Davison、K.J. Donnelly 以及Carol Vernallis分享了大量关于音乐形象的批判参照书籍，这些书籍覆盖了从Theodor Adorno 到Philip Tagg，以及大量两者观点之间的书籍。

如今，存在着大量经典的音乐学术作品，这些作品都是基于叙事电影写作的，并且它可以不再声称那个音乐视频是一个学术的盲点（正如Vernallis所承认那样）。

专业评论角度下，书中讨论的各种媒体格式，只有电视音乐仍然具有相对的学术代表性（尽管Donnelly 的两篇关于这个问题文章开始了解决这种缺失的进程）。

在这种情况下，作者的任务似乎已经变成提出可替代目前现有工作的观点，或把新研究对象带到学术界批判的眼光之下。

所有三项研究成果都为她们自己学术的原创性做出了声明，而且这些声明都是通过引用经典叙事电影音乐实践模型的方式做出的：一个概念化的原声带的角色，在经典电影中与讲述优先级的感知故事相配合。

对于所有书，其每本书的价值在于，即使在其驳斥的论述中也可以引发一种有趣的问题，该问题就是研究中完全不使用这种理论的可行性或不可行性。

即经常求助于经典于概念，即使是在事务中驳斥了，引发了可能（或不可能）的完全没有这种概念做有趣问题。

因此，这些作品成果揭示出'经典' 也有可能是一种疑难问题，它一直还运用于音乐形象关系的学术写作中，如同在屏幕学习探索领域的应用一样。

如其标题所示，Davison的《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》非常明确地运用了经典的电影音乐理论。

事实上，大约有四分之一的这本书进行了这样的解释：首先，假设古典好莱坞电影理论已经获得学术上的地位；其次，古典的得分实践与之相联系（其中Davison认为在20 世纪70 年代中期出现的后古典好莱坞复兴正在继续）。

这就为Davison提出她关键的理论提供了依据︰
这本书的中心论点是，通过操作经典的信号物——而且事实上，新好莱坞电影——古典好莱坞评分在1980 年代和1990 年代提供了进一步制作那些质量在好莱坞电影外面和边
缘的电影的手段，她们可以区分她们从好莱坞的电影院，通过产品的分数和配乐她们可以区分自己的电影与好莱坞电影，这些产品的分数和配乐通过特殊的途径批判或涉及这种实践。

通过对四部电影的配乐的跟踪分析，根据戴维森，指在时间为他们提供另一种同样的经典模型。

她通过测序研究的情况，戴维森概述替代实践从总解构经典电影配乐的传统讲故事的功能到一个练习，模仿经典的某些方面在其合作性质的认定范围的可能性，但它提供了一个理想的替代。

在这两者之间，她探讨了电影配乐的概念是一种“解放”的力量，在古典与另类的模式之间找到了一种妥协的可能性。

戴维森的每部电影里阅读是想象力和非常详细的。

她展示了一个特定的识别设备，并赋予不同类型的原声意义。

这一点在他的《花园和欲望的翅膀》完成的特别好。

她的分析并不试图隐藏她的明显的音乐训练，但是，在几乎所有的情况下仍然是可理解的这样的非音乐的说服力。

戴维森在书的开头部分所进行的非常全面场景的设置，认为这是必要的单个电影的欣赏分析，这一点是多少值得商榷的。

不过，她对古典和古典后好莱坞电影和经典电影配乐讨论的总结是有示范性的，并且总结的方式也是容易理解的，也许是在发布的流行和民间音乐系列需要这样一本书的地方而不是在一个屏幕研究。

但是好莱坞的意思在书的前几章的机构，工业和意识形态的力量，以及导演在后面的章节后面的分析之间仍然存在不匹配。

例如，在“新好莱坞电影和经典进球”的一章总结有关20世纪80年代在海外市场的美国电影的成长的统计信息。

然而，在各种非好莱坞电影配乐的细节，以个人电影制作人的部分主流做法，富有想象力的响应后续解释的不是必要的。

艺术电影院的导演的自由表达空间心领神会好莱坞的描述为顽固机构之间的分工，是由太沾沾自喜，意思是戴维森没有完全按照他在书中任何情况下“与体制问题有关的电影配乐和分数”。

在这方面，这本书并没有完全实现其许多优秀部分的潜力。

Donnelly在声音的魅力中写道：电影和电视音乐每阶段都有不同，但读者可以通过作者的早期理念：这本书是“费尽心思做一些难以捉摸的调查，为此做好了准备和影视的音乐“（第3页），而不是严格的基于假设表面。

然而，更关注这本书的是具体的给出的理由，各种范围内的材料，包括经典的导演如戴维林奇和斯坦利库布里克的作品，也是一个配乐讨论室：1999年，一系列的恐怖电影，和电视连相比就是音乐的作用。

唐纳利的影视音乐相比在更经典的作品，得分之处是更无形的专注于的讲故事。

这一点让他受鼓舞，特别是由电影制作的电影的日益复杂的声音设计，唐纳利认为：
传统的电影音乐被看作是一种叙事的一部分，在电影叙事中，在某种程度上，它会更好地把它看作是电影中的一部分。

下定决心去探索音乐的更多屏幕任性的素质，唐纳利的即兴演奏在音乐的魔力的概念，用形象的方式。

特别是关系到电影院，他认为配乐可以构成一种观众的感性上的占有。

唐纳利是不愿意承认电视原声带的具有功能，但集中而不是另一种魔力：在电视台，一个特定的电视背景一样的熟悉的音乐的习惯性使用配乐对他在生活别处也起很大作用。

这是影视音乐概念总是显示另一个地方，最有效地联系唐纳利的折衷研究的不同流派。

通过这种兴趣在“别处”的屏幕音乐，唐纳利成功地探索领域以外的经典叙事电影音乐理论，这在这里出席，现在的配乐的参与，在一个特定的虚构的场景。

然而，随之而来的见解，从这个成功的逃离一个更经典的方法的价值有时是理所当然的。

唐纳利的分析作为一个整体缺乏细节，这是一个对戴维森的案例研究美德的关注。

作者早在通过承认这本书的提供了一个“长镜头”，允许作品中对音乐详细分析，而不是主要的“特写”的许多前电影音乐研究。

深度分析损失是非常必要的必要，是对这本书没有被广泛称道的补偿。

例如，一个相对持续分析林奇的（1996）不可能是因为不愿意为其主张提供充分的证据，这是令人信服的。

在影片的大量使用预先存在的流行歌曲，唐纳利评论说：
这些歌曲的选择表面上看起来简单？我不这么认为。

这更像是动作来自歌曲本身，特别是从他们的声音和节奏方面。

这一主张被允许在每一个特定的情况下自己照顾自己，行动和歌曲之间的相互作用的更多的是在特定的评论的情况下。

对音乐的画面少顺从的关系到叙事原则应该提倡通过详细的解释，也与更传统的讲故事的电影配乐完成功能的可能性的价值。

在“别处”的画面中，如果其与其他空间的关系被承认，并且其自身的区域被详细地映射，则必然会更加有趣。

Vernallis在《体验音乐视频》说：美学与文化语境相结合的富有想象力的设施。

唐纳利的书刻画戴维森的细节。

她的研究在履行其承诺采取“音乐视频最严重的音乐是非常全面的关注”，从而试图分析以音乐代码，流程，和技术提供的视频图像可以被结构化的方法。

在一个层面上，vernallis承认，电视音乐和流行文化是一个迟来的固结在安得烈古德温的基础音乐电视学习舞蹈采取的举措实现。

然而，vernallis远远超过这个简单的。

在叙事和编辑章节，你可能期望从一个研究解构音乐视频形式的目的；不期望是配套等表演方面，道具和感官品质（听觉和视觉）的空间，颜色，纹理和时间的注意。

甚至在一些可预测的部分，vernallis也会探索探索歌曲和意象的关系，这种意象可以扩大音乐视频的一个关键的认识之间的关系的可能性。

例如，在编辑的章节，她远远超出了标
准的概念，视频切割他们的图像的节奏的歌曲，提出如下建议：
很显然，编辑可以反映歌曲的基本节拍模式，但它也可以对所有歌曲的其他参数作出解释。

例如，长的音节可以补充的安排一些，包括光滑的音色和长时间保持的音调。

一个视频可以使用不同的视觉材料来抵消在开始和结束的情节中的一个重要的缺陷或一个不同的分割情节。

而且，当然，这些影响可以从一对一的关系转向更对位的关系（49页）。

这些多种多样的富有感染力的可能性，后来被大量的例子所证明，所有带着丰富的解释的分析使得其在书本最后面的，包含着的三个案例的研究的拓展章节几乎感觉是一个非常好的东西。

在她随后的文章里,Vernallis声称她的书正试图展示出音乐视频里基本材料构成,就像大卫博德维尔和他的同事们做经典好莱坞电影或电影艺术时那样(第286页)。

《体验音乐视频》被证明的确是一本有用的教科书,其中一些不必要的重复章节之间也可能用不同的期望去解释,这本书将在单独的板块用于个人训练周期的课程,而不是作为一个整体使用。

然而,我觉得Vernallis用自己的不足来比喻。

她是一个富有想象力和独特个性的人,她通过自己的脉冲分析解释经典的好莱坞影片却被表明是不符的。

她的书与声音理论家米歇尔希翁等有很多的共同点，都创造了更广泛的、敏感的用于错综复杂的拍摄虚构的世界的方式，乔治•m•威尔逊的叙述光:研究电影的的观点就是证明了这个。

威尔逊和Vernallis都关注着所谓的“时刻”，作者试图解释如何捕捉关于他的虚构的世界的“时刻”，通过像表达环境刺激的案例,像体现叙事电影或者音乐参数的案例，以及一些的音乐视频的案例。

在Vernallis的陈述中，她说通过使用最小的时刻的调节方式，我们可以努力构建是看到的视频慢慢的远离(第202页)。

在许多场合当中，即使是一个喜欢vernallis而且是细心和非常认真的评论家，也抵挡不住那种比较音乐视频中的歌曲形象关系和经典电影的“典型”传统的诱惑。

这就需要一种最原始的、最值得称赞的的消遣，来完完全全理解音乐对影视音乐的影响。

在所有的这三本书中，都讲述了一个可以归类为“经典”的电影音乐创作，提供了一个成熟的研究领域的证据。

这些文学作品并不总是完完全全和作者的论点达到一致。

所有这三个作品提供了启发性的见解在各种影视音乐之中，并且没有充分引用经典理论。

然而，论证工作最好是在仔细观察和处理他们自己所选择的研究对象，而不是看的古典叙事电影音乐的模型，或对假设的价值分析，因为它并不一定适合传统的模型。

所有三位作家所追求的那种在基于文本的批评，最慷慨的一种关键活动也可可能是最短视的。

vernallis的书尤其显示一个特定的时刻密切阅读的奖励，因为它产生的在新的和令人惊讶的见解，可以激发读者的灵感，不仅是那一刻，也在他们遇到自己的时候。