Popular music in film.docx
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Popular music in film.docx
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Popularmusicinfilm
Popularmusicinfilm
Introduction
Thisstudyaimstolookintopre-existingpopularmusicinfilm,it'suseandplacewithinmodernfilmmaking,withexpressinterestindeterminingwhetherornotitcanfairlybecomparedandjudgedalongsidemoretraditionaloriginalscoringtechniquesasanartisticallyviablemeansbywhichtoadddepthandfurtherweighttotheimage,orifitissimplyacheapandeasymeansbywhichtoscoreafilm.InRonaldRodman'sessayTheuseofpopularmusicasleitmotifin1990'sfilm,hestatesthat
“withinthehandsofaskilleddirectorandmusiceditor,theuseofpre-existingpopularmusiccanbeusedtoconveynarrativeeventsandcharactersinawaysimilartoclassicalHollywoodscoring.However,thetwoexistatoppositeendsofamodernist/postmodernistcontinuum.WiththeHollywoodscorebeingvaluedforit'soriginalandfilmspecificuniquenessandthefoundscorebeingvaluedforit'sabilitytoredefineandrecycleit'sselfwhenusedwell,itoffersa“liveagain”feeling,thatallowsthemusictotranscendit'soriginalform,andfindnewmeritwithinthecontextoftheimage“.(Rodman,fromthecompiledessaycollectionChangingTunes:
TheUseofPre-existingMusicinFilm(2005:
135)
Thisstudydoesnotrefertoaspecificquestionrequiringafinalanswer,insteadaimstoexplorewhetherornottheideaofrecycledmusictrulycantranscendit'sselfinskilledhands,andiftheuseofpopularmusicinfilmhasbecomeusedmorewidelyandinamoresophisticatedfashionfollowingit'semergenceinmanyfilmsofthe1990's.Ialsointendonlookingintotheworkproducedwhenartistsmoreestablishedwithintherealmsofpopularmusic,trytheirhandwritingoriginalmusicforfilm,andifthiscombinationoffilmspecific,moretraditionalscoredmusicandthedifferentapproachesthatpopularmusicandthosemoreschooledinit'sconstructioncanbringtothetablewithregardstoanoriginalscore,istrulythedefinitivewaytocreateaninteresting,excitingandtrulybrilliantpieceofworkthatdoeswhatallgoodscoresshouldachieve,toonotonlyenhancetheimage,buttostandstrongonit'sownaspieceofworkinit'sownright.Byexploringtheresearchofotherswithoriginalresearchandthoughtsofmyown,Iintendtocometoapersonalconclusionregardingthematter.
Thisinvestigationisgoingtobebasedaroundtheinitialideathatpopularmusichasavaluableandusefulplacewithinmodernfilmmaking,however,duetoitoftenbeingusedinalazyandnotfullythoughtthroughmanner,ithasbecomesomewhatlookeddownuponwithinthemedium,beingseensimplyasameansforcheaplaughs,apleasantwaytopadoutthebackgroundmusicofasceneandasawaytoaddmoremarketabilitytoafilm.Inlightofthisgenerallyacceptedopinionofpopularmusic'splaceinfilm,andit'sviewinginsuchanegativelight,Iwishtolookintohowandwhythisviewexists,despitecountlessexamplesofitbeingusedtogreateffectwithinafilmandhowinrecentyears,thetrendforrecruitingtheskillsofpopularmusicianstoconstructoriginalmaterialspecificallyforfilmisnotonlythenextstepinpopularmusic'splaceincinema,butit'screativeapex.
Thisinvestigation,throughthecourseofit'sthreemainchapters,intendstolookcloselyatpopularmusic'splacewithinmoderncinema,howithasarrivedthere,whereitcangofromhere,andifitcanbeseenasimportantandusefulasclassicalmeansoffilmscoring.
Iintendonlookingintothefollowingpointsthroughoutthecourseofthisinvestigation:
Chapter1-PopularmusicandModernCinema
Howthegenesisofbothpopularmusicandcinemaareinherentlylinkedtooneanotherandacross-pollinationbetweenthemediumshasalwaysbeeninevitable
Howpopularmusicasscorediffersfromtraditionalscoresinwhatitdoeswithinafilm.
Thepotential(bothpositiveandnegative)thatpre-existingmaterialbringstoafilm,fromit'sabilitytocommentaddextralevelstoafilmthroughit'slyricalcontentandit'salreadyestablishedplaceinthepublicsubconsciousthroughtothehistoricalandsocialabilitiesithasinhelpingdefineerasandpublicattitudeswhennecessary.IshalllookattheuseofTheDoorssong‘TheEnd'inApocalypseNow (FrancisFordCoppola,1984)inordertoexplorethis
Thepowerfulimprintingeffectthatthecorrectpieceofpopularmusicandthecorrectvisualscanhaveononeanother,combininginsuchawaythattheyelevatebothsongandscenetoacompletelynewlevelofmeaning,operatingonmanymorelevelsthantheywouldhavedoneseparately.IShalllookatRoyOrbisons‘InDreams'withinthemoviesBlueVelvet(DavidLynch1982)
Chapter2-PopularmusicasLeitmotif
Lookintohowpopularmusichasadoptedthetraditionalfilmscoringtechnique,leitmotif.
Explorethemannerinwhichpopularmusic'susedenotativelyandconnotativelythroughleitmotifdiffersfromtheclassicscore,howitisnotreliedupontheactualrepetitionofspecificthemesthatconnectcharactersandnarrative,butrathertherepetitionofstylesofmusicortheirsocialcontext.
Investigatetwofilmsthatusepopularmusicasleitmotif,ShaunofTheDead(EdgarWright,2004)andPulpFiction(QuentinTarantino,1992)andhowtheiremploymentofthetechniquedifferstooneanother.
Chapter3-ThePopularMusicianasComposer
Investigate,throughexistingexampleswithinmovies,ofpopularmusiciansbeingeitherbeingusedtowritefilmspecificmusicforcinemaoractuallyconstructinganoriginalscoretailormadeforafilm,andiftheseapproachesheralddifferentresultsandopportunitiestoscoresconstructedbymoretraditionalcompositionmethods.
Conclusion
Discussanoverviewofmyinvestigation,cometoapersonalevaluationofwhetherpopularmusic'splacewithincinemasaudiolandscapeisviableasartisticallyexpressiveandappropriateasamethodofscoring.
Chapter1-PopularMusicandModernCinema
Popularmusic,sincethelate1970'shascometoholdaparticularlyinterestingandpowerfulpositionamongstthemanyvisualmediaformsthatexist,andthoughalargemajorityoftheseformsthathavemutatedandcrosspollinatedasaresultoftheriseofvarioustechnologiesandtheprominenceofpopularmusicasaformofculturalexpression,aremainlyusedastoolsofmarketing(musicvideos,televisionspotsandadvertisements),itpossessauniquefunctioningpurposewithinthemediumoffilm,“onlyindramaticfilmandtelevisionarepopularsongsusedinordertohelptellasustainednarrativestory-arolethathastraditionallybeenplayedbycommissionedmusicalscore”(Wright,PopularmusicandFilm,2003:
8)
It'shardlysurprisingthatpopularmusichascometobeusedassuchwithinfilm,thoughattheirmostfundamentallevelstheyoperateastwoquitdifferentformsofexpression,thetrajectoriesbothhavemovedalongthroughtheearlytwentiethcenturyshowstrikingsimilaritiestooneanother,toquoteIanInglisinhisintroductiontoPopularFilmandMusic(2003)
“Thegenesisofbothcameaboutasadirectresultoflatenineteenthcenturytechnologicaldevelopments,bothpredominantlyrelyonanewtypeofmassaudiencesharingacommoninterest,bothstartedwithhumblebeginningsasnoveltiestoexpandandbecomesomeofthelargestindustriesintheworldwithcolossalannualturnovers,bothhavebeenapproachedandconsumedfromperspectivesthathaveallowedthemtoevolvefromsimpletoolsofpopularandmasscultureintoexamplesofmorehighandeliteculture“.(Inglis,2003:
1)
Itisnolongerrequiredinmodernfilmmakingtocontainascorewrittenspecificallywiththeimagesandnarrativeinmind,amovie'smusicallandscapeisnowjustaslikelytobeentirelyfilledwithpre-existingsongs(betheypopularormoreesoteric)asitistofeatureamoretraditionalscore,oftenacombinationofthetwowillbeemployedbyadirector.
Inordertogreaterappreciatetherolethatusingpre-existingpopularmusicinafilmcanhaveon,notonlythenarrativeimplications,butthewayanaudiencewillrespondtothemoviegoingexperience,onemustlayouttheinherentdifferencesandopportunitiesthatpopularmusiccanbringwhencomparedtoatraditionalclassicalscore.
Musicwrittenandscoredwithafilminmindisspecificallycateredtotheneedsoftheimagesonscreen,oftenafilmwillbescoredlateinafilm'sproductionschedule,thereforitisnecessarytobendandfittotheconstraintsoftheimage,thecomposerisalmostaslavetothefilmathand,takingfullresponsibilityforfleshingouteverynuanceandemotionthatascenerequires.Theymustadaptandfitaroundwhatis(normallybythetimeacomposerisbroughtonboard)afairlyconcretestructureofhowthenarrativeeventstakeplace.
Ontheotherhand,whenadirectorchoosestousepre-existingmaterialinafilm,thesceneshaveusuallybeendesignedinsuchawayastobendaroundthesong.Pre-existingmaterialcannotbemanipulatedinthesamemannerofapiecetailoredtofitanarrative,however,throughtheuseofshootingandeditingasequencewithmusicinmind,itallowsacertainunityandrhythmtoemergefromthecombinationofthetwo.
Lookingatwhetherornotoneoftheseapproachestofilmscoringismoreartisticallyviableisamorecomplexquestionthatatfirstitwouldappear.
“Themostfundamentalobservationthatcanbemadeaboutmusicinanyaudio?
Visualmediumisthatitenjoysaratherdirectroutetooursubconscious.Humansarebynaturemorevisuallyorientated,wedigestvisualinformationmoreconsciously-andmorecritically-thanwedoauralinformation”(Wright2003:
10)
Sinceit'smusic'suncannyabilitytooverridethelogicalfro
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