Bonnie and Clyde and the Aural Imagination of American Counterculture

Daniel Bishop
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Abstract

Bonnie and Clyde’s soundtrack dramatizes a conflict between historicity and the temporal immediacy of lived experience. The film’s sound design offers a self-reflexive meditation on the photo- and phonographic capturing of human presence through mechanical mediation. This capturing, the author argues, functions as a metaphor for historical narrativity, a confining discourse to which the film seeks alternatives through a stylistic language drawing upon both visceral realism and ephemeral abstraction. Bonnie and Clyde’s unique bluegrass pop score extends the soundtrack’s larger concern with sensory immersion and mechanized, alienating distance, allowing the film to acquire a countercultural cachet suggestive of the “Happening,” a concept from avant-garde art that was broadly appropriated as a way of understanding of the popular zeitgeist.
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邦妮和克莱德与美国反主流文化的听觉想象
《雌雄大盗》的原声音乐将历史性和现实生活的现实性之间的冲突戏剧化了。影片的声音设计提供了一种自我反思的思考,通过机械调解来捕捉人类存在的照片和留声机。作者认为,这种捕捉是对历史叙事的一种隐喻,电影通过一种风格语言,利用本能的现实主义和短暂的抽象来寻求一种局限的话语。邦妮和克莱德独特的蓝草流行音乐扩展了原声配乐对感官沉浸和机械化、疏远的距离的更大关注,使电影获得了一种反文化的标志,暗示着“正在发生”,这是一个来自前卫艺术的概念,被广泛地用作理解流行时代精神的一种方式。
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