Body language as a signifier of gender and statues in Hellenistic and Roman art

田纳西威廉姆斯1947年的戏剧《欲望号街车》是二十世纪最受欢迎和最具争议的戏剧之一。在伊利亚·卡赞（该剧的原导演）的指导下，该剧于1951年被改编成电影，由查尔斯·K。费尔德曼作为华纳兄弟的独立制片人。亚历克斯·诺斯为电影配乐。虽然同样著名，诺斯的分数是很少讨论的大量文献街车。电影的配乐包括一些准爵士乐的线索，从新奥尔良公寓附近的酒吧听到的原始音乐，一些当时的流行歌曲（在收音机里;由布兰奇演唱），公共领域的音乐安排，以及诺斯的原创音乐。这个项目的一个主要目的是提供一个分析和解释北的分数都在电影和北的其他分数从这一时期的背景。《街车》的配乐被许多人认为是第一个一贯的“爵士风格”配乐，创作于爵士乐被乔·布林领导下的制作规范办公室和天主教体面军团定型为堕落的时候。虽然电影的剧本和情节的审查是众所周知的，但至少有一个诺斯的音乐线索的自我审查很少被讨论（信。Jack Vizzard to Joe Breen，1951年7月）。该项目的主要目的之一是首次全面探索该配乐的制作历史，包括审查诺斯的电影配乐、提示表和戏剧原始舞台制作音乐之间的关系程度（尚未讨论），以及威廉姆斯自己对戏剧中音乐使用的描述和指导。诺思的配乐的特殊性值得注意的原因有很多：斯坦利这个角色在音乐中使用了准爵士乐风格;对话、编舞和配乐在几个关键时刻的高度融合;音乐的使用表明了向主观观点的转变，音乐似乎是从角色布兰奇的内心发出的。在这里，音乐是由角色已故丈夫的记忆触发的，特别是指他们在他自杀期间分享的舞蹈。电影音乐是一个相对年轻的领域。因此，有大量的关键作曲家和技术，还有待于在任何非常详细的审查。亚历克斯·诺斯就是这样一位作曲家。尽管为《推销员之死》（1951年）、《萨帕塔万岁》（1952年）、《斯巴达克斯》（1960年）、《埃及艳后》（1963年）和《被解放的旋律》（1955年）创作了音乐，但第一本关于诺斯的书直到2004年才出版：亚历克斯·诺斯，电影作曲家，三亚·肖伊列夫斯卡亨德森。亨德森的书包括优秀的章节长度的案例研究的具体分数旁边的传记信息。我所制作的专著提供了一个好处，那就是它是对单个乐谱的详细分析，从而允许对所使用的作曲技术进行仔细阅读，同时也将这部作品置于作曲家其他乐谱的更广泛背景下。此外，作为这个快速发展的领域的研究的一个例子，结合了对电影和电影制作历史相关文件的分析和素描材料，这项工作也有助于该领域更普遍的发展，展示了一种整体的方法来认识到其必要的合作性质。在追踪发展的原始发挥的音乐到北的评分为电影版本，我现在能够正确的属性作者的各种音乐元素，到目前为止，经常被错误归因于文学的电影和戏剧。

Tennessee Williams' 1947 play, A Streetcar Named Desire, is one of the most feted and controversial of the twentieth century. Under the direction of Elia Kazan (the play's original director), it was adapted into a film in 1951, with Charles K. Feldman as independent producer for Warner Bros.. Alex North composed the film's music. Although equally celebrated, North's score is little discussed in the considerable literature on Streetcar. The film's score comprises some quasi-jazz cues, heard as source music from the bars near the apartment in New Orleans, a handful of popular songs from the period (on the radio; sung by Blanche), arrangements of music in the public domain, and North's original music. A key aim of this project was to offer an analysis and interpretation of North's score both within the context of the film and North's other scores from this period. The score for Streetcar is considered by many to be the first instance of a consistently 'jazz-style' score, composed at a time when jazz was stereotyped as degenerate by the Office of the Production Code under Joe Breen, and the Catholic Legion of Decency. Although the censorship of the film's script and plot are well known, the self-censorship of at least one of North's music cues has been little discussed (letter. Jack Vizzard to Joe Breen, July 1951). One of the key aims of the project was to explore, fully the score's production history for the first time, including an examination of the extent of the relationship between North's film score, cue-sheets and music from the play's original stage production (not yet discussed), alongside Williams' own descriptions of, and directions for, the use of music in the play. The particular character of North's score is notable for a number of reasons: the use of a quasi-jazz style in music for the^ character of Stanley; the high degree of integration between dialogue, choreography, and scoring at several key moments; the use of music to indicate the shift to a subjective point-of-view, with music seeming to issue from inside the mind of a character, Blanche. Here, the music is triggered by the memory of the character's late husband, and refers specifically to a dance they shared during which he committed suicide. Film music scholarship is a relatively young field. As such, there are a great number of key composers and techniques that have yet to be examined in any great detail. Alex North is one such composer. Despite composing the music for Death of a Salesman (1951), Viva Zapata (1952), Spartacus (1960), Cleopatra (1963), and the song 'Unchained Melody* for the Unchained (1955), the first book-length study about North was not published until 2004: Alex North, Film Composer by Sanya Shoilevska Henderson. Henderson's book includes excellent chapter-length case studies of specific scores alongside biographical information. The monograph I have produced offers the benefit that it is a detailed analysis of a single score, thus allowing a close-reading of the compositional techniques used, while also placing this work within the broader context of the composer's other scores. Further, as an example of research in this quickly developing field that incorporates the analysis of score and sketch material alongside documentation relating to the film's and the score's production history, this work also contributes to the development of the field more generally, in demonstrating an holistic approach to cinema that recognises its necessarily collaborative character. In tracing the development of the original play's music into North's score for the film version, I am now able to correctly attribute authorship of the various musical elements which, up to now, have frequently been mis-attributed in literature on the film and the play.