电影里拍摄了迪克森在舞台上对着一个硬蜡圆筒(本体位在电影机视线之外)的喇叭演奏小提琴,[3]他演奏的是来自罗伯特·普朗凯特(英语:Robert Planquette)的轻歌剧《科尔内维尔的钟(英语:Les cloches de Corneville)》中的船歌〈Va, petit mousse〉。[4]在迪克森面前则有两人随着音乐起舞。在电影的最后还有第四个人从画面左侧、喇叭和迪克森的背后走上台。电影的修复版全长只有17秒,但圆筒录到了大约两分钟的声音,包含23秒的小提琴音乐,为整部电影的原声带。
重新被发现
《迪克森实验有声电影》的无声35毫米硝酸纤维拷贝胶卷约有40英尺长,于1942年被现代艺术博物馆收藏并转录至安全胶卷(英语:Cellulose acetate film)上。汤玛斯·A·爱迪生公司在1956年将爱迪生实验设施捐赠给美国国家公园管理局。1960年代初,这部电影的硬蜡圆筒原声带在汤玛斯·爱迪生国家历史公园(英语:Thomas Edison National Historical Park)中被发现,当时其被发现放在爱迪生设施录音室的金属罐中,罐上有标示“Dickson—Violin by W.K.L. Dixon with Kineto”,但当研究人员在1964年将罐子打开时,罐中的圆筒早已断成两截。同年,管理局将公园中所有剩余硝酸纤维胶卷都被移至国会图书馆进行保存,在这其中有一支被图书馆标记为“迪克森小提琴”(Dickson Violin),据图书馆电影与电视典藏品管理人派崔克·劳尼(Patrick Loughney)所示,该胶卷“长39英尺又14帧[比40英尺短了两帧]”。[6]
《迪克森实验有声电影》的音画结合要等到1998年,当时劳尼与历史公园的录音室设施管理人杰瑞·法布里斯(Jerry Fabris)安排对电影的硬蜡圆筒进行修复,并在纽约的罗杰斯和汉默斯坦录音档案馆(Rodgers and Hammerstein Archive of Recorded Sound)恢复了其中的内容,接着用新的录音母带将其内容录下,以便日后在数码录音带上重现保真度。由于图书馆不具备将恢复的配乐与电影画面同步结合的能力,制片人和修复专家瑞克·施密德林(英语:Rick Schmidlin)建议让获奖无数的电影剪辑师沃尔特·默奇(英语:Walter Murch)参与其中(两人在1998年合作修复了奥森·威尔士执导的《历劫佳人(英语:Touch of Evil)》),默奇最终得到了17秒的电影画面和从圆筒中恢复的2分钟的声音来进行处理。[7]默奇通过将素材进行数位媒体编辑成功把《迪克森实验有声电影》音画同步结合。光影魔幻工业在修复过程中发挥了一定的作用,但具体作用不详。[8]《迪克森实验有声电影》修复版于2002年6月1日的黑玛丽亚电影节(Black Maria Film Festival)上在历史公园的20英寸屏幕上放映。
See, e.g., UNLV Short Film Archive互联网档案馆的存档,存档日期2007-06-27.. Courtesy of Wikipedia editor Franz Jacobs, the following material can be accessed to compare Dickson's performance with a selection from "Song of the Cabin Boy", demonstrating that Dickson plays the vocal part on the violin:
See Two Hundred Opera Plots, by Gladys Davidson, for a description of the opera. Ion Martea, in his May 19, 2006, essay on the film互联网档案馆的存档,存档日期2016-03-03. for the Culture Wars website, claims erroneously that the music Dickson plays is "an excerpt from Pietro Mascagni's Cavalleria rusticana."
Loughney (2001) describes the sound as "nearly two minutes long" (p. 217). Murch, in his brief 2000 note, calls it "a couple of minutes long"; in his 2004 interview he says "two and a half minutes long."
Russo (1987), pp. 6–7. For rebuttal of Russo's claim, see, e.g., Dixon (2003), p. 53; Justin DeFreitas, "Moving Pictures: Documentary Puts Modern Gay Cinema in Context", Berkeley Daily Planet, July 7, 2006 (available online (页面存档备份,存于互联网档案馆)).
See Movies of the 90s, ed. Juergen Mueller (Bonn: Taschen, 2001), p. 147. See also Larry P. Gross, Up from Invisibility: Lesbians, Gay Men, and the Media in America (New York: Columbia University Press, 2001), p. 57. Gross also erroneously calls it a "five-minute avant-garde film" and describes the men as dancing to music "played on an Edison gramophone", though he does properly state that "we don't know what Dickson intended this light-hearted scene to suggest" (ibid.). The passage is adapted from a section introduction written by Gross for The Columbia Reader on Lesbians & Gay Men in Media, Society, and Politics, ed. Larry P. Gross and James D. Woods (New York: Columbia University Press, 1999), p. 291.
A particularly relevant example of the way the word "gay" was actually used is provided by a later Edison Manufacturing Company film, directed by Edwin S. Porter. As described by scholar Linda Williams, The Gay Shoe Clerk (1903)
is composed of a static long shot.... A clerk is tidying up when two women enter. The younger woman seats herself before the clerk as the older woman's attention wanders. When the clerk begins to try a shoe on the young woman, the master long shot is replaced by an "insert" close-up of her foot and ankle showing the clerk's hands fondling the foot. As the shot continues the woman's full-length skirt rises, and the audience gets a good view of her stockinged calf. Returning to the original long shot, we see the rest of the action: the clerk, apparently aroused by the sight and touch of her calf, kisses the young woman; the older woman finally notices and begins beating him on the head with her umbrella.
Linda Williams, Hard Core: Power, Pleasure, and the "Frenzy of the Visible", exp. ed. (Berkeley, Los Angeles, and London: University of California Press, 1999), pp. 65–66.
See John C. Waugh, The Class of 1846: From West Point to Appomattox—Stonewall Jackson, George McClellan and Their Brothers" (Ballantine Books: 1994), pp. 19, 131, 138.
来源
出版书籍
Dixon, Wheeler Winston (2003). Straight: Constructions of Heterosexuality in the Cinema (Albany: State University of New York Press, 2003). ISBN0-7914-5623-4
Hendricks, Gordon (1966). The Kinetoscope: America's First Commercially Successful Motion Picture Exhibitor. New York: Theodore Gaus' Sons. Reprinted in Hendricks, Gordon (1972). Origins of the American Film. New York: Arno Press/New York Times. ISBN0-405-03919-0
Loughney, Patrick (2001). “Domitor Witnesses the First Complete Public Presentation of The Dickson Experimental Sound Film in the Twentieth Century,” in The Sounds of Early Cinema, ed. Richard Abel and Rick Altman (Bloomington: Indiana University Press), 215–219. ISBN0-253-33988-X
Russo, Vito (1987). The Celluloid Closet: Homosexuality in the Movies, rev. ed. (New York: Harper & Row). ISBN0-06-096132-5
线上资料
Dickson Sound Film short, scholarly discussion; part of the UNLV Short Film Archive
Dickson Experimental Sound Film essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 ISBN0826429777, pages 3–4 [1]
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