抒情的电视

IF 0.3 0 FILM, RADIO, TELEVISION
Scott Macdonald
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引用次数: 1

摘要

抒情诗源远流长。亚里士多德将抒情诗区分为诗歌的三大类之一(另外两大类是戏剧和史诗)。几个世纪以来,许多人试图对抒情/抒情的精确定义,但大多数人都同意对抒情的经典理解是“一个简短的主观诗歌,强烈地以想象力,旋律和情感为特征,并为读者创造一个单一的,统一的印象。”大多数定义还明确指出,抒情诗是诗人公开的主观表达。亚当斯·西特尼也许是第一个认识到商业电影通常是戏剧性的和/或史诗的电影学者,电影有自己的抒情传统,斯坦·布雷哈格和布鲁斯·贝利的电影就是一个缩影。西特尼对电影歌词的定义是:
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Lyrical Television
Lyric poetry has ancient roots. Aristotle distinguished the lyrical as one of the three broad categories of poetry (along with the dramatic and the epic). Over the centuries, many have attempted precise defi nitions of the lyric/lyrical, but most would agree with the classic understanding of the lyric as “a brief subjective poem strongly marked by imagination, melody, and emotion, and creating for the reader a single, unifi ed impression.” Most defi nitions also specify that the lyric poem is an openly subjective expression of the poet. P. Adams Sitney was perhaps the fi rst fi lm scholar to understand that while the commercial motion picture is generally dramatic and/or epic, cinema has its own lyric tradition, epitomized by the fi lms of Stan Brakhage and Bruce Baillie. Sitney’s defi nition of the cinematic lyric:
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