{"title":"“这就是区别，我全身心地投入到艺术中”:rensame Baker谈默片评分实践与“种族电影”问题","authors":"Michael T. Martin","doi":"10.2979/blc.2023.a883805","DOIUrl":null,"url":null,"abstract":"Abstract: This lengthy conversation with Renée Baker engages with her multi-modal practice as a visual artist and composer of sound scores for silent films, particularly the “race movies” Body and Soul (dir. Oscar Micheaux, 1925) , The Scar of Shame (dir. Frank Peregini, 1927), and Borderline (dir. Kenneth MacPherson, 1930). Baker contends that these films render more complex and nuanced readings of black life and community than Hollywood renderings and that they contributed to the recovery of Black history .","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"“That’s the Difference, I Am Fully Engaged With Art”: Renée Baker on the Practice of Scoring Silent Film and the Matter of “Race Movies”\",\"authors\":\"Michael T. Martin\",\"doi\":\"10.2979/blc.2023.a883805\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract: This lengthy conversation with Renée Baker engages with her multi-modal practice as a visual artist and composer of sound scores for silent films, particularly the “race movies” Body and Soul (dir. Oscar Micheaux, 1925) , The Scar of Shame (dir. Frank Peregini, 1927), and Borderline (dir. Kenneth MacPherson, 1930). Baker contends that these films render more complex and nuanced readings of black life and community than Hollywood renderings and that they contributed to the recovery of Black history .\",\"PeriodicalId\":42749,\"journal\":{\"name\":\"Black Camera\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2023-03-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Black Camera\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.2979/blc.2023.a883805\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q3\",\"JCRName\":\"Arts and Humanities\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Black Camera","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2979/blc.2023.a883805","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q3","JCRName":"Arts and Humanities","Score":null,"Total":0}
引用次数: 0
摘要
摘要:本文与rensame Baker进行了长时间的对话，讨论了她作为视觉艺术家和无声电影配乐作曲家的多模式实践，尤其是“种族电影”《身体与灵魂》(Body and Soul，导演)。奥斯卡·米肖，1925年，《耻辱的伤疤》(导演)。弗兰克·佩雷吉尼，1927年)，和《边界》(导演。肯尼斯·麦克弗森，1930)。贝克认为，这些电影对黑人生活和社区的解读比好莱坞电影更复杂、更细致，它们对黑人历史的复苏做出了贡献。
“That’s the Difference, I Am Fully Engaged With Art”: Renée Baker on the Practice of Scoring Silent Film and the Matter of “Race Movies”
Abstract: This lengthy conversation with Renée Baker engages with her multi-modal practice as a visual artist and composer of sound scores for silent films, particularly the “race movies” Body and Soul (dir. Oscar Micheaux, 1925) , The Scar of Shame (dir. Frank Peregini, 1927), and Borderline (dir. Kenneth MacPherson, 1930). Baker contends that these films render more complex and nuanced readings of black life and community than Hollywood renderings and that they contributed to the recovery of Black history .
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