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Sounding the past in the New Hollywood Cinema.

机译:在新好莱坞电影院中聆听过去。

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摘要

Several films of the New Hollywood Cinema produced between 1965 and 1978 were aesthetically invested in the idea of the historical past. This dissertation examines the implications of this investment for the expressive use of sound and music. Chapter One locates the past as a subject of discourse within the context of New Hollywood film culture. Chapter Two focuses on "Bonnie and Clyde," examining the film's visceral sound design and the propulsive, but alienating effect of its bluegrass score. Chapter Three compares two revisionist Westerns, "Butch Cassidy and the Sundance Kid" and "McCabe and Mrs. Miller," examining distinct ways in which Burt Bacharach's score and Robert Altman's unique approach to music and sound project a mythic temporality, blurring together contemporaneity and historicity, as well as the real and the fantastic. Chapter Four examines four films---"Inside Daisy Clover," "Inserts," "The Day of the Locust," and "The Last Tycoon"---projecting distinct permutations of a cultural imaginary in which the "Old Hollywood" of the studio era formed a locus of occult Gothicism and troubled sexuality. In this imagined space, aurality is an uncanny, spectral presence and technological mediation stages a threat to reality itself. Chapter Five discusses compiled pop scoring in relationship to the spatio-temporalized figure of radio transmission in two nostalgia films, "The Last Picture Show" and "American Graffiti." Chapter Six engages Terrence Malick's film-philosophical preoccupations within a reading of "Days of Heaven," examining issues of musical heterogeneity and the aural spectacle of its Dolby Stereo sound design. Across the body of film represented by this study as a whole, aural sensibilities of "pastness" are manifested in diverse ways, but nevertheless share a central dialectical concern, on the one hand, with the immediacy and experiential actuality of the past itself, and on the other, with the distance that inevitably separates us from this experience.
机译:1965年至1978年之间制作的几部新好莱坞电影的电影在美学上被投资于历史的过去。本文研究了这项投资对声音和音乐表现力使用的意义。第一章将过去定位为新好莱坞电影文化背景下的主题。第二章重点介绍“邦妮和克莱德”,考察影片的内在声音设计以及蓝草乐谱的推动性但疏远的效果。第三章比较了两个修正主义的西方人,“ Butch Cassidy and the Sundance Kid”和“ McCabe and Miller太太”,考察了Burt Bacharach的乐谱和Robert Altman独特的音乐和声音处理方法展现出神话般的时空性,同时期和历史性,以及真实和梦幻。第四章考察了四部电影-“雏菊三叶草内部”,“插页”,“蝗虫日”和“最后的大亨”,它们对一种文化假想进行了不同的排列,其中“老好莱坞”摄影棚时代形成了神秘的哥特主义和困扰性欲的场所。在这个想象的空间中,听觉是一个不可思议的现象,频谱的存在和技术调解阶段对现实本身构成了威胁。第五章讨论了两部怀旧电影《最后的图片展》和《美国涂鸦》中与时空传播的无线电传播关系的汇编流行音乐评分。第六章将特伦斯·马里克(Terrence Malick)的电影哲学重点放在“天堂的日子”(Days of Heaven)中,探讨音乐异质性及其杜比立体声声音设计的听觉问题。在整个以这项研究为代表的电影中,“过去”的听觉敏感性以多种方式表现出来,但一方面与过去本身的即时性和体验性有着共同的辩证性关注,并且另一方面,距离不可避免地将我们与这种经历区分开。

著录项

  • 作者

    Bishop, Daniel.;

  • 作者单位

    Indiana University.;

  • 授予单位 Indiana University.;
  • 学科 Music.;Film studies.
  • 学位 Ph.D.
  • 年度 2016
  • 页码 435 p.
  • 总页数 435
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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