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在演唱会电影和摇滚乐纪录片的历史上,平克·弗洛伊德乐队的《庞贝古城演唱会纪录片》因其独特的再现策略成为最富争议的作品之一。本文认为这部电影本身所独有的特征与20世纪70年代初期平克·弗洛伊德乐队在英国摇滚乐坛中的特殊地位有关,同时这部电影也展现了该乐队在这一时期的艺术研究转向及其表现手法的不断创新和发展。在此假设基础上,本文认为此片的“真实性”应当被视为是组合文本符号所导致的结果:这类符号触发了“身份认证”的诸种可能实例,并廓清了由体裁定义、技术媒介以及视听建构方式所动态交互而成之概念空间的边界,并展现了乐队或音乐人的独特身份。
In concert film and rock documentary history, Pink Floyd’s “Pompeii concert documentary” became one of the most controversial works because of its unique reproduction strategy. This paper argues that the film’s unique characteristics are related to the special status of Pink Floyd band in British rock music in the early 1970s. The film also shows the art of the band during this period The research turns toward the continuous innovation and development of its performance techniques. Based on this assumption, the article considers the “authenticity” of the film as the result of a combination of text symbols: such symbols trigger various possible instances of “identity authentication ” and make it clear The boundaries of the conceptual space that are dynamically interacted with by genre definitions, technical media, and audiovisual constructions showcase the unique identities of bands and musicians.