湖中女士、合唱之声与叙事机构

IF 0.5 0 FILM, RADIO, TELEVISION
D. Greig
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引用次数: 0

摘要

摘要:电影合唱声部使用的一个显著特点是语言的弱化;歌手们用发明的或死了的语言哼唱。这种方法适用于各种流派,并以两种相关的方式使用合唱:作为人类和非人类集体的唤起,以及作为奇观和叙事解决方案的庆祝者。我认为,这种方法是由声音而不是乐器所促进的人类能动性的特殊含义决定的。我描绘了电影中合唱声音的本体论性质,并分析了《湖中女士》(罗伯特·蒙哥马利,1947)。这部电影不仅是第一人称相机中的一个独特实验,它的无伴奏合唱配乐也很重要,这是古典电影中唯一的一部,我认为,这是由电影独特的叙事策略推动的。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Lady in the Lake, Choral Voices, and Narrative Agency
Abstract:A notable feature of the use of choral voices in cinema is the attenuation of language; singers hum, vocalise, and sing in invented or dead languages. Such an approach applies across genres and sees choruses used in two related ways: as evocations of human and inhuman collectives, and as celebrants of spectacle and narrative resolution. I argue that this approach is dictated by the particular implication of human agency that the voice, as opposed to the musical instrument, promotes. I sketch the ontological properties of choral voices in cinema and analyse Lady in the Lake (Robert Montgomery, 1947). As well as being a singular experiment in first-person camera, the film is significant for its a cappella score, the only one of its kind in classical cinema, motivated, I argue, by the film's distinct narrative strategy.
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来源期刊
Music Sound and the Moving Image
Music Sound and the Moving Image FILM, RADIO, TELEVISION-
CiteScore
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