外文文献翻译电影电视制作、影视音乐中英文.doc

外文文献翻译 () 文献出处： Garwood Ian. "Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 1980s and 1990sThe Spectre of Sound: Music in Film and TelevisionExperiencing Music Video: Aesthetics and Cultural Context." 47.4(2006):477-482(6). 英文原文 Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 1980s and 1990s The Spectre of Sound: Music in Film and Television Experiencing Music Video: Aesthetics and Cultural Context Garwood Ian The last time a collection of screen music-related books was the subject of a Screen review, the reviewer Simon Frith was moved to note each work's ?self -defeating … need to draw attention to their subject's neglect? as well as the very limited manner in which the authors seemed ?to be engaged with each other?. Judging by the books grouped together in the present review, the scholarship in the area is now much more collegiate, and the requirement on the authors to self-diagnose academic isolation seems to have become unnecessary. Annette Davison, K.J. Donnelly and Carol Vernallis share a plethora of critical references on music– image relationships, from Theodor Adorno to Philip Tagg and many points in between. A substantial canon of academic writing on music in narrative film now exists, and it can no longer be claimed that music video is a scholarly blind spot (as Vernallis admits). Of the various media formats discussed in the books under review, only television music remains relatively under-represented academically (though Donnelly's two chapters on the subject begin the process of addressing this absence). In this context, the authors' task would appear to be to present alternatives to existing work, or to bring new objects of study to critical light. All three studies make claims for their own originality by referencing a model of ?classical? narrative film music practices: a conceptualization of the soundtrack's role as fitting in with classical cinema's perceived storytelling priorities. For all the books'