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

肢体语言作为希腊和罗马艺术中性别和雕像的象征

• 批准号: AH/E504264/1
• 负责人: Glenys Davies
• 金额: $ 3.65万
• 依托单位: University of Edinburgh
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2007
• 资助国家: 英国
• 起止时间: 2007 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FE504264%2F1
• 关键词: Body; language; signifier; gender; statues

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.

田纳西·威廉姆斯1947年的戏剧《欲望街车》是20世纪最受欢迎和最具争议的戏剧之一。在该剧原导演伊利亚·卡赞的指导下，该剧于1951年被改编成电影，查尔斯·K·费尔德曼担任华纳兄弟的独立制片人。亚历克斯·诺斯谱写了这部电影的音乐。尽管诺斯的成绩同样举世闻名，但在大量关于Streetcar的文献中，很少有人讨论诺斯的分数。这部电影的配乐包括一些准爵士乐线索，作为原始音乐从新奥尔良公寓附近的酒吧听到，几首那个时期的流行歌曲(通过收音机；由布兰奇演唱)，公共领域的音乐编曲，以及诺斯的原创音乐。这个项目的一个主要目的是在电影和这一时期诺斯的其他配乐的背景下提供对诺斯的配乐的分析和解释。许多人认为Streetcar的配乐是始终如一的爵士风格配乐的第一个实例，当时爵士乐被乔·布林领导的生产代码办公室和天主教体面军团刻板地认为是堕落的。尽管对电影剧本和情节的审查是众所周知的，但对诺斯的至少一条音乐线索的自我审查很少被讨论(信。1951年7月，杰克·维扎德给乔·布林)。该项目的主要目标之一是首次全面探索乐谱的制作历史，包括检查诺斯的电影配乐、提示表和该剧原始舞台制作(尚未讨论)中的音乐之间的关系，以及威廉姆斯自己对该剧中音乐使用的描述和指导。诺斯乐谱的特殊特征之所以引人注目，原因有很多：斯坦利这个角色在音乐中使用了准爵士风格；在几个关键时刻，对话、编排和配乐高度结合；使用音乐来表明转向主观观点，音乐似乎是从角色布兰奇的内心发出的。在这里，音乐是由对角色已故丈夫的记忆触发的，特别是指的是他们分享的一段舞蹈，在那段舞蹈中，他自杀了。电影音乐学术是一个相对年轻的领域。因此，有大量的关键作曲家和技术尚未得到任何详细的审查。亚历克斯·诺斯就是这样一位作曲家。尽管创作了《推销员之死》(1951)、《萨帕塔万岁》(1952)、《斯巴达克斯》(1960)、《埃及艳后》(1963)以及《被解放的人》(1955)这首歌曲，但第一部关于北方的全书研究直到2004年才出版：三亚·肖列夫斯卡·亨德森的电影作曲家亚历克斯·诺斯。亨德森的书包括优秀的章节长度的特定分数的案例研究以及传记信息。我写的这本专著的好处是，它是对单一乐谱的详细分析，因此可以近距离阅读所使用的作曲技巧，同时也将这部作品置于作曲家其他乐谱的更广泛的背景下。此外，作为这个快速发展的领域研究的一个例子，该领域结合了对配乐和素描材料的分析，以及与电影和配乐制作历史相关的文件，这项工作也有助于该领域的更广泛的发展，展示了一种认识到其必然的合作特征的电影的整体方法。在追溯原剧音乐发展到诺斯为电影版配乐的过程中，我现在能够正确地指出各种音乐元素的作者，到目前为止，这些元素在电影和戏剧的文学作品中经常被错误地归类。