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1、此文档是毕业设计外文翻译成品（ 含英文原文+中文翻译），无需调整复杂的格式！下载之后直接可用，方便快捷！本文价格不贵,也就几十块钱！一辈子也就一次的事！外文标题：Explicit commentaries and implicit designs: The evolving role of post-production sound in mainstream documentary外文作者：Rhys Davies文献出处: Journal of Media Practice Volume 8 Number 2,2018 (如觉得年份太老，可改为近2年，毕竟很多毕业生都这样做)英文5000单词
2、，30846字符(字符就是印刷符)，中文8108汉字。（如果字数多了，可自行删减，大多数学校都是要求选取外文的一部分内容进行翻译的。）Explicit commentaries and implicit designs: The evolving role of post-production sound in mainstream documentaryAbstractThis article, focusing exclusively on sound design, examines how technology has defined the shape and structure o
3、f mainstream documentary production through three distinct eras: The Post-Sound Dubbing (19301959). Location Sound Origination (19602000). The Digital Domain (2000). It also looks at the potential of creative sound design in contemporary commercial documentary and presents a modern production aesthe
4、tic that concentrates on sound design as a means to convey a distilled evocative realism, rather than the representational naturalism of location sound recording.Keywords: narrative,representation, distillation, post-production ,sound-designDevelopments in mainstream documentary practice have almost
5、 invariably been technology led. As a reflective practitioner, my interest will be focussed primarily upon how the developments in technology have defined the process of production and consequently, the shape and structure of the delivered text. This, I see, as an exploration of the causal factors t
6、hat have defined mainstream documentary practice. This essay will look at the development of sound signification within mainstream commercial documentary. The term documentary covers a wide range of styles and forms, much in the same way that fiction can be classified into a comprehensive list of dr
7、amatic genres. Within the context of this essay, the term documentary broadly means a factual document, whether it be a British Gaumont newsreel from the 1930s, an episode of Zoo Quest from the 1950s or History of Football, a thirteen part documen- tary series first broadcast in 2002.Aural significa
8、tion of visual material has undergone a series of pro-found changes and can be broadly catalogued into three distinct eras:Each of these eras was instigated by developments in technology, and, to a great extent, the processes of production and the construction of the edited document have been define
9、d by new technology. Without the emergence of direct-to-disc recording in the 1920s, a commentary would have remained a live radio event. Similarly, without the development of portable reel to reel magnetic tape recorders and 16mm cameras throughout the 1950s, there would not have been the Fly on th
10、e Wall, Direct Cinema and Cinema Verite genres of the 1960s.Modes of signification: Post-Sound Dubbing (19301960) Before the development of portable and reliable tape recorders in the late 1950s, to record audio on location was problematic and so techniques were developed to circumvent the issue of
11、aural signification. Since the early days of cinema, it was understood that sound created an emotional immediacy that the silent moving image often lacked. Consequently, silent films were never silent. The audio, in the form of live orchestras, or even just a single piano, accompanied the moving pic
12、ture at the point of delivery to an audience. When talking pictures arrived in the late 1920s, it simply meant at first that music and effects were included earlier into the production process which allowed for a greater uniformity of delivery. This was also true for non-fiction material. Newsreels
13、incorporated music and voice over, which were added in post-production, after the final picture edit.During this period, location sound recording was usually reserved for interviews or pieces to camera, and even these were restricted to primarily domestic subject matters or events of national and gl
14、obal importance. Therefore the process of post production at that time revolved around a variety of aural signification techniques, most noteworthy of which was the post-production narrative commentary.CommentariesThe voice over was an invention of radio and was intended to provide a descriptive and
15、 linear commentary. Before television, all planned major events were covered by radio. This is particularly true of sporting contests1 in the 1920s, radio was in its infancy and still uncertain as to what its long-term role was to be. One of its earliest innovations was to broadcast competitive spor
16、t. They were comparatively simple to do because all that was required was a commentator and an effects mic.2 Thanks to radio, sports such as football, cricket, rugby, horseracing and boxing found substantial new audiences. Before the development of wireless broadcasting, sporting audiences were limited to those who were able to physically attend the event. Radio was able to broaden the boundaries of participation because it coul
