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本文对建国以来国内影视音乐创作的失范现象进行了学理性的症候分析,从中检括出四种典型病象:1.滥用,2.煽情,3.自娱,4.缺席;笔者在对其失范的成因进行了文化语境上的追究和美学上的清算的同时,进一步比较了纯音乐艺术与影视音乐艺术的异同,并首次提出了视听文本中的影像系统与声音系统所形成的“互文性”是影视音乐美学本体的观点,继而在对这一本体的论述展开中逻辑地推演出有关影视音乐释义的获他性、结构的他律性、出场的间隔性、叙事的视点性的诗学特征。
This article has made a theoretical symptomatic analysis of the anomie phenomena of the domestic film and television music since the founding of the People’s Republic of China, including four typical diseases: 1. Abuse, 2. Sensationalism, 3. Self-entertainment, 4. Absence; The causes of anomie have carried on cultural and cultural contextual aesthetics and liquidation at the same time, further compared the similarities and differences between the art of pure music and the art of film and television music, and for the first time put forward the audiovisual system formed by the video system and the sound system, Intertextuality "is the viewpoints of film music aesthetics ontology, and then logically deduces the otherness and structure of the film and television interpretation from the perspective of the ontology of the film and television, the regularity of play, the narrative point of view Sexual poetic characteristics.