纪录片声音的真实性与现实性

L. Murray
{"title":"纪录片声音的真实性与现实性","authors":"L. Murray","doi":"10.1386/ST.3.2.131_1","DOIUrl":null,"url":null,"abstract":"While we expect a dramatic feature film to use creative license in bringing the sound-track to life, does the same carte blanche approach apply for documentary? Does it, and should it, matter? This article highlights some of the problems and questions relating to the notions of realism and authenticity in the production of the documentary soundtrack. The production of the documentary film Gallipoli Submarine is used as a case study to examine the implications for practice.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2010-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"9","resultStr":"{\"title\":\"Authenticity and realism in documentary sound\",\"authors\":\"L. Murray\",\"doi\":\"10.1386/ST.3.2.131_1\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"While we expect a dramatic feature film to use creative license in bringing the sound-track to life, does the same carte blanche approach apply for documentary? Does it, and should it, matter? This article highlights some of the problems and questions relating to the notions of realism and authenticity in the production of the documentary soundtrack. The production of the documentary film Gallipoli Submarine is used as a case study to examine the implications for practice.\",\"PeriodicalId\":253130,\"journal\":{\"name\":\"The Soundtrack\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2010-12-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"9\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"The Soundtrack\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1386/ST.3.2.131_1\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"The Soundtrack","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/ST.3.2.131_1","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 9

摘要

当我们期待一部剧情片使用创意授权将原声带进生活时,同样的全权委托方法适用于纪录片吗?它重要吗?它应该重要吗?这篇文章强调了一些问题和有关的现实主义和真实性的概念在纪录片配乐的生产。以纪录片《加利波利潜艇》的制作为例,考察其对实践的影响。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Authenticity and realism in documentary sound
While we expect a dramatic feature film to use creative license in bringing the sound-track to life, does the same carte blanche approach apply for documentary? Does it, and should it, matter? This article highlights some of the problems and questions relating to the notions of realism and authenticity in the production of the documentary soundtrack. The production of the documentary film Gallipoli Submarine is used as a case study to examine the implications for practice.
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:481959085
Book学术官方微信