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 workrsquo;s,“self-defeating...need to draw attention to their subjectrsquo;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,KJ.Donnelly and Carol Vernallis share a plethora of critical references on music-image relationships,from Theodor Adormo 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 remain relatively under-represented academically (though Donnellyrsquo;s two chapters on the subject begin the process of addressing this absence).
In this context,the authorsrsquo; 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 soundtrackrsquo;s role as fitting in with classical cinemarsquo;s perceived storytelling priorities.For all the bookrsquo;s individual merits,theregularrec ourseto notions of the classical,even in the service of its refutation,raises interesting questions about the possibility (or impossibility) of doing without such a concept entirely.Thus,these works reveal the “classical” to be category as problematic yet insistent in writing on music-image relation as it is in other areas of screen studies enquiry.As its title suggests, Davisonrsquo;s Hollywood Theory,Non-Hollywood Practice:Cinema Soundtracks in the 1980s and 1990s engages with classical film music theory most explicitly.Indeed,about a quarter of the book is devoted to the explication of,first, Classical Hollywood Cinema as it has been conceived academically ,and second,the classical scoring practice associated with it(which Davison sees revived in the so-called “post-classical”Hollywood of the mid 1970s on wards).This provides the ground on which Davison makes her key claim:The central argument of this book is that,by operating as a signifier of classical-and,indeed,New Hollywood cinema -the classical Hollywood score offered those making films outside and on the margins of Hollywood cinema in the 1980s and 1990s a further means by which they could differentiate their cinemas from Hollywoodrsquo;s,through the production of scores and soundtracks which critique or refer to this practice in particular ways.There follow close analyses of four films whose soundtracks,according to Davison,refer to the classical model at the same time as they offer an alternative.Through her sequencing of the case studies,Davison outlines possibilities of alternative practice that range from a total deconstruction of the classical soundtrackrsquo;s conventional storytelling functions(as witnessed in Jean-Luc Godardrsquo;s Prenom: Carmen[1983])to the identification of as coring practice that mimics certain aspects of the classical in its collaborative nature,yet provides a Utopian alternative to it(as seen through David Lynchrsquo;s Wild at Heart [1990]).In between,she explores the notion of the soundtrack as a “liberating” force(Derek Jarmanrsquo;s The Garden[1990]),and the potential for a compromise to be found between classical and alternative models(WimWendsrsquo; Wings of Desire[1987]).
Davisonrsquo;s reading of each film is imaginative and very well detailed.She demonstrates a particular facility for identifying,and ascribing a significance to ,different types of sound on the same soundtrack.This is done with particular success in the her readings of The Garden and Wings of Desire. Her analysis dose not seek to hide her evident musical training,but,in nearly all cases,remains intelligible and persuasive to non-musicologists such as myself(who will just have to accept the occasional use of musical notation as pretty pictures).It is question able how much of the extremely comprehensive scene-setting under taken by Davison in the bookrsquo;s early sections is necessary for an appreciation of the individual film analyses.Nevertheless,her summaries of discussions about classical and post-classical Hollywood cinema and the classical film score are exemplary,and they are conducted with a thoroughness which is understandable,perhaps,in a book which takes its place in the publisherrsquo;s Popular and Folk Music series rather than in a screen studies collection.
There remains a mismatch,however,between the concentration on Hollywood as an institutional,industrial and ideological force in the early chapters of the book,and the auteurist bent of the analysis that follows in later chapters.For example,the chapter on“New Hollywood cinema and classical scoring”concludes with statistical information about US cinemarsquo;s growth in overseas market during the 1980s.Yet this detail seems unnecessary in the light of the subsequent interpretation of the various non-Hollywood soundtracks as imaginative responses to mainstream practices on the part of individual filmmakers.The division between descriptions of Hollywood as intransigently institutional,and the implicit understanding of art-house cinema as a space for the free expression of the auteur（made explicit in the celebration of Lynch in the final case study）is made too complacently and means that Davison does not fulfil her promise to engage“with institutional issues in relation to film soundtracks and scores”in every case.In this respect,the book does not fully realize the potential of its many excellent parts.
The critical tone of Donnellyrsquo;s The Spectre of Sound:
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最后一次收集的屏幕与音乐有关的书籍是主题为屏幕的专业评论,评论者是SimonFrith,她很感动,并注意到各项工作间的弄巧成拙...... 需要提请注意的是她们忽视主题以及非常有限的方式,在这种方式中, 作者们似乎愿意相互帮助以完成工作。从目前收集到的评论书籍中可以判断,和以前相比,该地区大部分学术成就是分学院的, 并且要求对作者进行的自我诊断和学术隔离似乎已经不太成为必要。Annette Davison、K.J. Donnelly以及Carol Vernallis分享了大量关于音乐形象的批判参照书籍,这些书籍覆盖了从TheodorAdorno到PhilipTagg,以及大量两者观点之间的书籍。
现在存在一部关于叙事电影音乐的大量学术写作，而且不能再声称音乐录像是一个学术盲点（就像Vernallis承认的那样）。在所审查的各种书籍中讨论的各种媒体格式中，只有电视音乐在学术上保持相对不足的表现（尽管唐纳利关于这个主题的两章开始解决这种缺席的过程）。
在这种情况下，作者的任务似乎是为现有工作提供替代方案，或者将新的研究对象带入批判性的灯光。所有三项研究都通过引用“古典”叙事电影音乐实践的模型来声明自己的独创性：将电影配乐的角色概念化为与古典电影的感知故事优先顺序相适应。对于所有这些书
的个人优点，经典的经典概念即使在驳斥它的服务时也会引发有趣的问题，关于完全没有这种概念的可能性（或不可能）。因此，这些作品揭示了“古典”是一个有问题而且坚持写作的范畴音乐-形象关系，因为它是在屏幕研究其他领域的研究。正如其标题所暗示的，戴维森的好莱坞理论，非好莱坞实践：1980年代和1990年代的电影原声带与最经典的电影音乐理论最为明确地衔接。事实上，这本书的大约四分之一致力于解释古典好莱坞电影，因为它已经在学术上构思出来了，其次，与之相关的经典得分实践（Davison在所谓的“后- 古典“70年代中期以后的好莱坞）。这为Davison提出了她的主要观点：本书的核心论点是，作为古典电影的指示器-实际上，新好莱坞电影-经典的好莱坞评分为那些在电影之外和边缘制作电影的人好莱坞电影在20世纪80年代和90年代成为进一步的手段，通过这些手段，他们可以通过制作以特定方式批评或提及这种做法的乐谱和配乐来区分他们的电影院和好莱坞电影。根据戴维森的观点，对四部电影进行了仔细分析，他们在提供替代品的同时提到了古典模型。通过她对案例研究的排序，Davison概述了替代性实践的可能性，其范围从对古典配乐的传统叙事功能（如Jean-Luc Godard的Prenom：Carmen [1983]中所见证的全面解构）到识别得分练习模仿古典的某些方面的协作性，但提供了一个乌托邦的替代方案（如通过大卫林奇的狂野之心[1990]）。在她之间，她探讨了配乐作为一个“解放”力量的概念（DerekJarman的TheGarden[1990]），以及在古典和替代模型之间找到妥协的潜力（Wim Wenders 的欲望之翼[1987]）。
戴维森对每部电影的阅读都是富有想象力和非常详细的。她演示了一种特殊的设备，用于识别同一音轨上不同类型的声音并将其归因于其中。这在她读“花园与欲望之翼”的读物中取得了特别的成功。她的分析并不试图隐藏她明显的音乐训练，但在几乎所有情况下，对于非音乐学家（比如我自己（他们只需要偶尔使用音乐符号作为漂亮的图片））仍然可理解并具有说服力。Davison在本书早期部分进行的非常全面的情景设置对于欣赏单个电影分析是非常必要的，这是值得怀疑的。尽管如此，她关于古典和后古典好莱坞电影以及古典电影得分的讨论总结都是堪称典范的，而且它们的彻底性也是可以理解的，或许可以在出版商的流行音乐和民间音乐系列而不是在屏幕研究集合中。
但是，好莱坞作为本书前几章的体制，工业和意识形态力量的集中与后面章节中的分析的专制主义者之间仍存在不匹配。例如，关于“新好莱坞电影和古典音乐评分”的章节以1980年代美国电影在海外市场增长的统计信息结束。然而，这种细节似乎没有必要，因为随后将各种非好莱坞原声带解释为个体电影制作人对主流实践的富有想象力的回应。把好莱坞描述为体制上的分裂，以及对艺术家电影作为自由表达导演空间的暗含理解（在最终案例研究中对林奇的庆祝中明确表达出来）是过于自满的，意味着戴维森没有履行自己的承诺，即“在电影配乐和分数方面与体制问题有关”。在这方面，这本书没有充分认识到其许多优秀部分的潜力。
唐纳利的“幽灵幽灵：电影和电视中的音乐”的批评语气也在不同部分之间有所不同，尽管读者已经准备好了，因为作者早期声称这本书是“反思，对一些难以捉摸的和迷人的屏幕音乐方面“而不是更严格的基于假设的说明。
尽管如此，本书还是提供了更具体的理由，让书中注意到了一系列令人愉悦的折衷主义材料，其中包括大卫林奇和斯坦利库布里克等经典作品的作品，但也为讨论Space：1999的配乐提供了空间。全系列的恐怖电影，以及音乐在电视连续性片段中的作用。唐纳利将屏幕音乐描述为一种更为无形的东西，而不是那些关注分数的公开叙事功能的更为经典的账户中所声称的东西。Donnelly认为，特别是受电影放映电影制作日益复杂的声音设计的启发，电影音乐传统上被认为是叙述的一部分，为电影叙事工作，在某些方面，最好将其看作是部分影片的特效库。
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