中科新闻网黄海f1和哈弗h3:英语高手注意帮帮忙！
来源：百度文库 编辑：中科新闻网 时间：2024/05/04 19:25:19
谁能帮我把他翻译一下！感激不尽！
The sound of music comment
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In recent years I've been struck by the glut of mediocre-to-bad movie scores, and the degree to which movie music has weighed down contemporary filmmaking, marring good films and sinking middling ones. I've lost count of how many films--particularly the American ones--from the past five years would have been immeasurably improved by either belier scores or no score at all. (It seems to me that much of the best contemporary cinema from around the world either does without music altogether or uses it only sparingly.) I don't mean to imply that there isn't still great work being done--Neil Young's score for Dead Man and Elmer Bernstein's for Far from Heaven, to name two examples only, offer dramatic evidence to the contrary. In the right hands, music remains a vital part of the cinematic experience.
Nonetheless, to put it bluntly, too many contemporary movie composers turn in banal, reductive, and heavy-handed work, diminishing what's onscreen by indicating what the characters are feeling, dictating the audience's emotional response to what they're watching, or simply overwhelming viewers and beating them senseless. Movie music too often seems the enemy of ambiguity, nuance, complexity, and, ultimately, emotion. It seems to me that things started going downhill in the Eighties, when the synthesizer and the jukebox song score were widely adopted by Hollywood, thus sidelining the expertise of veteran movie composers. After all, the fish rots from the head down--in this case, directors, producers, and studio suits.
Music has not always been a blight on the cinematic landscape. On the contrary; it's traditionally been one of the filmmaker's most powerful tools, a skeleton key that can unlock the viewer's imagination. With notable exceptions (particularly the work of scholar and theorist Royal Brown), the art of the score has been largely overlooked in theory and criticism. All the same, the past 70 years of the form constitutes a rich secret history of the movies.
The sound of music comment
Save a personal copy of this article and quickly find it again with Furl.net. It's free! Save it.
In recent years I've been struck by the glut of mediocre-to-bad movie scores, and the degree to which movie music has weighed down contemporary filmmaking, marring good films and sinking middling ones. I've lost count of how many films--particularly the American ones--from the past five years would have been immeasurably improved by either belier scores or no score at all. (It seems to me that much of the best contemporary cinema from around the world either does without music altogether or uses it only sparingly.) I don't mean to imply that there isn't still great work being done--Neil Young's score for Dead Man and Elmer Bernstein's for Far from Heaven, to name two examples only, offer dramatic evidence to the contrary. In the right hands, music remains a vital part of the cinematic experience.
Nonetheless, to put it bluntly, too many contemporary movie composers turn in banal, reductive, and heavy-handed work, diminishing what's onscreen by indicating what the characters are feeling, dictating the audience's emotional response to what they're watching, or simply overwhelming viewers and beating them senseless. Movie music too often seems the enemy of ambiguity, nuance, complexity, and, ultimately, emotion. It seems to me that things started going downhill in the Eighties, when the synthesizer and the jukebox song score were widely adopted by Hollywood, thus sidelining the expertise of veteran movie composers. After all, the fish rots from the head down--in this case, directors, producers, and studio suits.
Music has not always been a blight on the cinematic landscape. On the contrary; it's traditionally been one of the filmmaker's most powerful tools, a skeleton key that can unlock the viewer's imagination. With notable exceptions (particularly the work of scholar and theorist Royal Brown), the art of the score has been largely overlooked in theory and criticism. All the same, the past 70 years of the form constitutes a rich secret history of the movies.
你以为会有人吃饱了撑着吗?????????