Celluloid love songs: musical modus operandi and the dramatic aesthetics of romantic Hindi film
Celluloid love songs: musical modus operandi and the dramatic aesthetics of romantic Hindi film
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赛璐珞情歌：音乐手法和浪漫印地语电影的戏剧美学
DOI：
10.1017/s0261143008102197
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发表时间：
2008
期刊：
影响因子：
0.4
通讯作者：
Natalie Sarrazin
中科院分区：
文献类型：
--
作者：
Natalie Sarrazin
摘要在印地语电影中，情歌在几乎每部电影都包含歌舞数字的行业中占绝大多数。这些电影作品经常被错误地描述为叙事中断，包含了本土美学和自我认同的文化价值观，并采用了影响电影歌曲内容和背景的当代电影技术。这些电影技巧如何强化观影体验，并让传统的审美理想与当代准则共存，这些准则与新兴的印度中产阶级和侨民有关？从考察音乐和情感的传统来源和当代价值观开始，我谈到了特别重要的展示心灵的概念，这通常是主题和戏剧紧张以及情歌配乐的核心。作为主要的情感体裁，我分析了爱情电影中心灵的运用，并提出了浪漫电影歌曲及其美学的一般类型，包括常用的音乐母题和代码。最后，我将印度浪漫主义类型的音乐、电影和叙事成分与美国电影音乐剧的这些方面进行了比较，特别是在文化价值观和意识形态差异方面。以情侣为中心的叙事的标志性使用与印度情感的展示有关，通过描述几种普遍使用的电影技巧来增强歌曲对观众的情感影响，情歌二重唱被联系到背景中。最后，我将重点放在歌曲序列和叙事结构之间的关系上，特别是这是如何加强而不是打断叙事流程的。
Abstract In Hindi cinema, love songs comprise the vast majority in an industry in which almost every film contains song and dance numbers. Often incorrectly characterised as narrative interruptions, these celluloid creations contain indigenous aesthetics and self-identifying cultural values, and employ contemporary cinematic techniques which impact film song content and context. How do these cinematic techniques intensify the viewing experience and allow traditional aesthetic ideals to coexist with contemporary codes relevant to a burgeoning Indian middle class and diaspora? Beginning with an examination of traditional sources and contemporary values regarding music and emotion, I address the particularly important notion of displaying heart, often the centrepiece of thematic and dramatic tension as well as the love song soundtrack. As the primary emotional genre, I analyse the use of heart in romantic films and suggest a general typology of romantic film songs and their aesthetics, including commonly used musical motifs and codes. Finally, I compare musical, cinematic and narrative components of the Indian romantic genre with those aspects of the American film musical, particularly in relation to cultural values and ideological differences. The iconic use of a couple-centric narrative is examined in relation to Indian displays of emotion, and love song duets are contextualised through description of several pervasive cinematic techniques used to heighten the emotional impact of songs on the audience. I conclude with a focus on the relationship between the song sequence and the narrative structure, particularly how this serves to intensify the narrative flow rather than interrupt it.