Marshall, Kingsley. 2020. ‘Allied: Zemeckis and Silvestri. Longstanding Relationships Between Composers and Directors’. In Barkman, Adam and Sanna, Antonio (Eds.). 2020. A Critical Companion to Robert Zemeckis. Lanham, US: Lexington Books
Notice bibliographique
Résumé
“I'm standing there in this Calvin Klein white sweater, and all of a sudden Bob walks in wearing the exact same sweater. Right then, we knew that we were connected for life" (Silvestri, 1995). The collaboration between composer Alan Silvestri and director Robert Zemeckis began with Romancing the Stone (Zemeckis, 1984) and has continued through to the present day, with their eighteenth collaboration The Witches due in cinemas 2020. In order to better understand the relationship between Silvestri and Zemeckis, this chapter draws an alignment of the creative practice of these film with a detailed, intrasoundtrack analysis of the scenes they discuss. I will make use of interviews to explore their working relationship and use these to contextualise the close reading of specific scenes selected from four live action films of their relationship – including Flight (2012), The Walk (2015), Allied (2016) and Welcome to Marwen (2018). These four recent films have been chosen as they represent the well-developed relationship between composer and director, and each articulate genre, space, place and character subjectivity in a complex manner through the combination of musical and moving image Vicki Mayer observes that this analysis of cultures of production, when applied to specific productions, speaks not just to the film under examination, but can offer “larger lessons about workers, their practices, and the role of their labors in relation to politics, economics and culture” (2009: 15). I argue that such longstanding collaborative relationships, and a practice of involving music composers within the development stages at the initiation of film projects, can serve to privilege sound more broadly within a film and commonly results in a greater integration of music within the films themselves than is common in film production. Amy McGill argues that a “contemporary” narrative mode of sound and music within cinematic storytelling emerges in the 1970s (2008), a development of film sound born of “the industrial realignments that led to flexible production processes, technological developments and emerging trends in storytelling technique and generic style, all of which have contributed to the diverse and complex character of the contemporary soundtrack” (2009: 289). Silvestri’s work with Zemeckis over a thirty-year period offers an opportunity to consider the manner with which this mode manifests itself in their work, and offer commentary on the manner with which this use of sound can be sound to demonstrate the blurring of distinctions between international art cinema, American independent filmmaking and US studio productions occurring during that period (2008: 293-294).
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,001 | 0,001 |
| Études des sciences et des technologies | 0,003 | 0,002 |
| Communication savante | 0,000 | 0,001 |
| Science ouverte | 0,001 | 0,001 |
| Intégrité de la recherche | 0,000 | 0,002 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».