中间情感:音乐情绪线索,当代匈牙利情节剧中的无实体情感

Hajnal Király
{"title":"中间情感:音乐情绪线索,当代匈牙利情节剧中的无实体情感","authors":"Hajnal Király","doi":"10.3366/edinburgh/9781474435499.003.0002","DOIUrl":null,"url":null,"abstract":"In contemporary Hungarian cinema some melodramas presenting struggling female protagonists like Ágnes Kocsis's Fresh Air (2006) and Adrienn Pál (2010), Kornél Mundruczó's Johanna (2005), Peter Strickland's Katalin Varga (2009) and Károly Ujj-Mészáros's Liza, the\n Fox Fairy (2015), seem to resist Linda William's definition of melodrama as ‘body genre’, offering the spectacle of a body caught in the grip of intense sensation or emotion, triggering the emotional mimicry of the spectator. In the Hungarian films in question, female protagonists remain expressionless and their emotions are ‘translated’ into visual and aural stylisation. Instead of spectacular representations of emotions, these films operate with mood cues, visual and auditory (mostly musical) figurations of melancholic sense of loss and helplessness. In these films audiovisual stylisation is not only portraying the character's moods, but it compensates for the lack of bodily excess and ensures spectatorial embodiment with an intermedial figuration based on congruency, contrast or competition between image and sound.","PeriodicalId":236414,"journal":{"name":"Caught In-Between","volume":"157 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Intermedially Emotional: Musical Mood Cues, Disembodied Feelings in Contemporary Hungarian Melodramas\",\"authors\":\"Hajnal Király\",\"doi\":\"10.3366/edinburgh/9781474435499.003.0002\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In contemporary Hungarian cinema some melodramas presenting struggling female protagonists like Ágnes Kocsis's Fresh Air (2006) and Adrienn Pál (2010), Kornél Mundruczó's Johanna (2005), Peter Strickland's Katalin Varga (2009) and Károly Ujj-Mészáros's Liza, the\\n Fox Fairy (2015), seem to resist Linda William's definition of melodrama as ‘body genre’, offering the spectacle of a body caught in the grip of intense sensation or emotion, triggering the emotional mimicry of the spectator. In the Hungarian films in question, female protagonists remain expressionless and their emotions are ‘translated’ into visual and aural stylisation. Instead of spectacular representations of emotions, these films operate with mood cues, visual and auditory (mostly musical) figurations of melancholic sense of loss and helplessness. In these films audiovisual stylisation is not only portraying the character's moods, but it compensates for the lack of bodily excess and ensures spectatorial embodiment with an intermedial figuration based on congruency, contrast or competition between image and sound.\",\"PeriodicalId\":236414,\"journal\":{\"name\":\"Caught In-Between\",\"volume\":\"157 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-04-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Caught In-Between\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.3366/edinburgh/9781474435499.003.0002\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Caught In-Between","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3366/edinburgh/9781474435499.003.0002","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0

摘要

在当代匈牙利电影中,一些情节剧呈现挣扎的女性主角,如Ágnes科西斯的《新鲜空气》(2006)和阿德里安Pál (2010), korn Mundruczó的《约翰娜》(2005),彼得·斯特里克兰的《卡塔琳·瓦尔加》(2009)和Károly Ujj-Mészáros的《狐狸仙女丽莎》(2015),似乎抵制了琳达·威廉将情节剧定义为“身体类型”,提供了一个身体被强烈的感觉或情感抓住的场面,引发了观众的情感模仿。在匈牙利电影中,女主人公仍然面无表情,她们的情绪被“翻译”成视觉和听觉的风格。这些电影没有对情感进行壮观的表现,而是用情绪线索、视觉和听觉(主要是音乐)对忧郁的失落感和无助感进行刻画。在这些电影中,视听风格不仅描绘了人物的情绪,而且还弥补了身体过剩的不足,并通过基于图像和声音之间的一致性、对比或竞争的中间形象来确保观众的具体化。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Intermedially Emotional: Musical Mood Cues, Disembodied Feelings in Contemporary Hungarian Melodramas
In contemporary Hungarian cinema some melodramas presenting struggling female protagonists like Ágnes Kocsis's Fresh Air (2006) and Adrienn Pál (2010), Kornél Mundruczó's Johanna (2005), Peter Strickland's Katalin Varga (2009) and Károly Ujj-Mészáros's Liza, the Fox Fairy (2015), seem to resist Linda William's definition of melodrama as ‘body genre’, offering the spectacle of a body caught in the grip of intense sensation or emotion, triggering the emotional mimicry of the spectator. In the Hungarian films in question, female protagonists remain expressionless and their emotions are ‘translated’ into visual and aural stylisation. Instead of spectacular representations of emotions, these films operate with mood cues, visual and auditory (mostly musical) figurations of melancholic sense of loss and helplessness. In these films audiovisual stylisation is not only portraying the character's moods, but it compensates for the lack of bodily excess and ensures spectatorial embodiment with an intermedial figuration based on congruency, contrast or competition between image and sound.
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
自引率
0.00%
发文量
0
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:604180095
Book学术官方微信