怀念我的朋友,重温两部电影

Elsie Walker
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摘要

这篇文章围绕沃克欣赏的两部电影原声带以及本期《Alphaville》要献给的人展开:Danijela Kulezic-Wilson。这两部电影的原声带分别来自皮特-多克特(Pete Docter)和坎普-鲍尔斯(Kemp Powers)的《灵魂》(Soul)和赵楚娥(Chloé Zhao)的《游牧民族》(Nomadland),均于 2020 年上映。这两部电影在音效上有着天壤之别:灵魂》以乔恩-巴蒂斯特(Jon Batiste)的爵士乐以及特伦特-雷兹诺(Trent Reznor)和阿蒂库斯-罗斯(Atticus Ross)的现代电子音乐为主,而《游牧国》则以卢多维科-艾诺迪(Ludovico Einaudi)和Ólafur Arnalds的现代古典音乐为主。具有讽刺意味的是,尽管听起来大相径庭,但两部影片都从真实故事中汲取营养,教导观众即使在死亡中也要好好生活。或者,套用达尼耶拉关于《醒来的生活》(理查德-林克莱特,2001 年)的说法,这些影片强调 "人类经验的二元性,活着的乐趣和死亡的隐性接近"。沃克将电影疗法与声音研究相结合,论证了这两部电影的智慧,它们帮助她应对达尼耶拉去世的悲痛,希望这能引起那些在自己的电影与人的关系中找到类似安慰的读者的共鸣。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Remembering my friend and rehearing two films
This article revolves around two soundtracks Walker has admired along with the person to whom this issue of Alphaville is dedicated: Danijela Kulezic-Wilson. The soundtracks come from Soul by Pete Docter and Kemp Powers and Nomadland by Chloé Zhao, both released in 2020. The films are sonically worlds apart: Soul is dominated by jazz music by Jon Batiste and contemporary electronic music by Trent Reznor and Atticus Ross, while Nomadland features modern classical music by Ludovico Einaudi and Ólafur Arnalds. Ironically, despite sounding profoundly different, both films draw from true stories in order to teach audioviewers about living well, even in the midst of death. Or, to reapply Danijela’s words about Waking Life (Richard Linklater, 2001), these films emphasise “the dualistic nature of human experience, the pleasure of being alive and the implicit proximity of death.” Walker combines cinematherapy with sound studies to make a case for the wisdom of both films that have helped her cope with the grief of Danijela’s death, in the hope that this might resonate for those readers who find similar comfort in their own film-to-person relationships.
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