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首页> 外文期刊>Ethnomusicology Forum >Mbaqanga, Bollywood and Beethoven on the Beachfront: A Composer's Perspective on Representation and Identity in the Film My Black Little Heart
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Mbaqanga, Bollywood and Beethoven on the Beachfront: A Composer's Perspective on Representation and Identity in the Film My Black Little Heart

机译：海滨上的姆巴卡（Mbaqanga），宝莱坞（Bollywood）和贝多芬（Bethoven）：作曲家对电影《我的黑色小心》中的表现和身份的看法

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A handful of recent film studies publications have taken as their subject composers' reflexive and analytical accounts of their own practice in creating music for film. This paper aims to take that approach a step further by exploring both the collaborative creative processes behind the composition of my score for the 2007 South African/Danish film, My Black Little Heart, and the cross-cultural representational issues raised by it. It is often unacknowledged by composers how much a director, producer or music editor informs the final score, and I examine the often very subtle decision-making processes, the constant adjustments and readjustments, that occurred between the film maker (in this case, the director) and myself, the composer, in the creation of the film's music. An unusual consequence of the high level of creative reciprocity on this project was the powerful influence the music had on the structure of the film. This paper adds to a growing body of recent scholarship that sees a consideration of the production process as fundamental to an understanding of music's active role in the creation of meaning in a film; the antithesis of seeing the score as simply music tacked on to a virtually complete film. This paper also examines the way the film uses a number of diegetic music cues associated with specific characters as a shorthand delineation of their racial, religious and sub-cultural identities. I look at the representational value of these cues and how they relate to stereotypes, myths and metaphors used to describe post-apartheid society, as well as how this relates to the film's representation of South African realities. The article ends with a brief analysis and interpretation of the music, its meaning and effects, but rather unusually, this is done from the perspective of the composer, something that is still relatively rare in film music studies.
机译：近期的一些电影研究出版物已将其作曲家对自己创作电影音乐的实践的反思和分析作为参考。本文旨在通过探讨2007年南非/丹麦电影《我的黑色小心》的总谱构成背后的协作创作过程，以及由此引发的跨文化代表性问题，来进一步采取这种方法。作曲家通常不知道导演，制片人或音乐编辑将多少作为最终评分的依据，我考察了电影制片人之间经常进行的非常微妙的决策过程，不断的调整和调整（在这种情况下，导演）和我自己（作曲家）一起创作电影的音乐。高水平的创意互惠对这个项目的一个不同寻常的结果是音乐对电影的结构产生了强大的影响。本文增加了越来越多的近代学者，他们认为对制作过程的考虑对于理解音乐在电影中创造意义中的积极作用至关重要。与将乐谱看成是一部完整的电影中简单的音乐相对立。本文还研究了影片如何使用与特定角色相关的多种营养性音乐线索，作为其种族，宗教和亚文化身份的简要描述。我研究了这些线索的代表性价值，以及它们与用于描述种族隔离后社会的刻板印象，神话和隐喻之间的关系，以及这与电影中对南非现实的描述之间的关系。本文以对音乐，音乐的含义和效果的简要分析和解释作为结尾，但与众不同的是，这是从作曲家的角度完成的，这在电影音乐研究中仍然很少见。

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