纪录片声音的真实性与现实性

The Soundtrack Pub Date : 2010-12-01 DOI:10.1386/ST.3.2.131_1

L. Murray

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引用次数: 9

摘要

当我们期待一部剧情片使用创意授权将原声带进生活时，同样的全权委托方法适用于纪录片吗?它重要吗?它应该重要吗?这篇文章强调了一些问题和有关的现实主义和真实性的概念在纪录片配乐的生产。以纪录片《加利波利潜艇》的制作为例，考察其对实践的影响。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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Authenticity and realism in documentary sound

While we expect a dramatic feature film to use creative license in bringing the sound-track to life, does the same carte blanche approach apply for documentary? Does it, and should it, matter? This article highlights some of the problems and questions relating to the notions of realism and authenticity in the production of the documentary soundtrack. The production of the documentary film Gallipoli Submarine is used as a case study to examine the implications for practice.

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The Soundtrack

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