在2010年代中期, 以流行音乐为题材的影片在奥斯卡最佳纪录长片奖中独占鳌头. “Searching for Sugar Man,” “Twenty Feet From Stardom” 和 “Amy” all won the prize. It was an unexpected boom: in the decades prior, nonclassical music documentaries had received only scattered nominations.
All of those winning films were biographies or chronicles of a scene or community. 今年, 虽然, 获得提名的纪录片《澳门葡京官网》(Summer of Soul)围绕着音乐表演的镜头展开,” about the 1969 Harlem Cultural 节日 that featured Sly 和 the Family Stone, 尼娜西蒙, Mahalia Jackson 和 Stevie Wonder, 等.
“这部电影与奥斯卡以往看待音乐纪录片的方式不同,汤姆·鲍尔斯说, 多伦多国际电影节的纪录片编导和主办 纯纪实 播客. “They have been drawn to music-based films, but the cores of those films are not performances, they’re other kinds of storytelling.”
具有讽刺意味的是, the only concert documentary to win an Academy Award was “Woodstock” in 1971, a film that cast a strong shadow on “Summer of Soul.” The events in each film took place during the same season, 但在马克斯·雅斯格尔的农场拍摄的《澳门葡京官网》成为一代人的试金石, the footage from Harlem languished.
当然, “Summer of Soul” isn’t only a concert film; its director, Ahmir “Questlove” Thompson, best known for his day job as the drummer for the Roots, has rejected this description of the project, 和 the movie touches on multiple topics involving the politics of the time. But with its focus on the stage, 《澳门葡京官网》直接连接并重现了高品质演唱会纪录片的传统, a form that has seen its reputation rise 和 fall over the rock era.
In the 1960s, concert documentaries were respected projects. “夏日的爵士乐,，记录了1958年路易斯·阿姆斯特朗(Louis Armstrong)和查克·贝里(Chuck Berry)在新港爵士音乐节(Newport Jazz 节日)上的表演, is preserved in the National Film Registry, while Murray Lerner’s “节日,” shot at the 1963-66 Newport Folk 节日s, was an Oscar nominee in 1968. Documentary pioneers like the 梅耶斯兄弟 和 D.A. Pennebaker were involved in multiple music movies that helped define the era.
“这些电影制作人更多地受到纪录片原则的驱动，而不是音乐,本杰明·J说。. 哈伯特, 他是《澳门葡京游戏》(American Music Documentary)的作者，乔治敦大学(Georgetown University)音乐副教授. “They were all older than the generation they were shooting. 他们有点像人类学家，试图把澳门葡京游戏带入这个变化的60年代的美国.”
米娅面具, a professor of film at Vassar College, noted similarities between “Summer of Soul” 和 films like “给我庇护。” the Maysles’ chronicle of the Rolling Stones’ chaotic, disastrous appearance at the 1969 Altamont festival, or “不要回头看了,” Pennebaker’s document of Bob Dylan’s 1965 tour. “像”给我庇护,’ there isn’t a strong linear narrative, but the musical culture undergirds a whole host of other things,”她说. 而《澳门葡京游戏》则更具有偶然性，它捕捉了音乐会沿途的瞬间.在这些方面，她指出，“《澳门葡京官网》让人想起那些影响深远的纪录片。.”
In a telephone interview, 汤普森解释说，他最初的想法更接近于传统的音乐会纪录片. “我想，‘我拍了40个小时的视频，而这必须是90分钟，’”他说. “在做了25年的节目之后，我自然知道，如果澳门葡京游戏有90分钟，那就是14首歌. And there’s way more artists than there is space for songs, so now I’m thinking in terms of a cool mix tape.
“I’m not saying I would have gone cut-和-paste traditional documentary,”他继续说, “but I would have probably told the story of a Harlem festival, then exp和ed it to Spanish Harlem 和 other cultures, 和 then opened it to the worldwide setting, the African artists that were there, 和 that would have more or less been the story.”
伍德斯托克音乐节之后，一波摇滚音乐会电影浪潮不可避免地随之而来，从平克·弗洛伊德(在庞贝)!), David Bowie 和 the Grateful Dead, 随着午夜电影在当地艺术院里的出现，提供了一个稳定的出口.
这一趋势也涵盖了黑人表演者，比如纪录片《 “Wattstax” 还有《灵魂对灵魂》(Soul to Soul)，还有其他被枪杀的，但多年后才问世的作品，比如 “灵魂力量” (来自1974年奥斯卡获奖影片《当澳门葡京游戏是国王的时候》(When We Were Kings)中的穆罕默德·阿里(Muhammad ali)和乔治·福尔曼(george Foreman)打斗的音乐节)，以及艾瑞莎·富兰克林(Aretha Franklin)的福音表演《澳门葡京游戏》(Amazing Grace).”
这个时代达到了极端的顶点:一方面，齐柏林飞艇乐队(Led Zeppelin)的滑稽过度 “The Song Remains the Same” (1976), with preposterous fantasy sequences 和 cuts taken from different shows, such that the b和’s outfits sometimes change within a single song. 另一方面, 马丁·斯科塞斯(Martin Scorsese)的《澳门葡京游戏》(最后的华尔兹, 1978)获得了乐队最初阵容的最后一场演出, with a cavalcade of guests representing all of the group’s influences 和 history. “最后的华尔兹” is often described as the finest example of the form, but Dr. 哈伯特 also noted that some have called it “the death of the concert film, 有那么多摇滚明星和内部笑话每一个镜头都是有条不紊地计划好的.”
几年后, MTV戏剧性地、永久地改变了电影观众和音乐之间的关系. With the addition of series like “MTV Unplugged,” it became much more common to watch music performance; the concert film was no longer restricted to the pop elite. To st和 out, it took something exceptional, like 1984’s “停止生产有意义——在《澳门葡京官网》的创新表现力和乔纳森•戴米导演的彻底简单化之间取得平衡，或者是在普林斯的《澳门葡京游戏》中展示出的无与伦比的精湛技艺 “签在《澳门葡京游戏》上.”
Dr. 《澳门葡京游戏》表示，随着时间的推移，纪录片已经“从cinéma vérité-style转向更具商业吸引力的叙事。. We see a real shift with something like Madonna’s “真理或敢” 还有那些80年代和90年代早期的电影，它们想要颠覆音乐会电影的风格，让它变得完全不同. Now Beyoncé is doing her own version of that with projects like “柠檬” 和 “同学会.’”
音乐家们已经制作了音乐会电影来记录特殊的事件(LCD音响系统的2012年“Shut Up 和 Play the Hits,这张照片拍摄于该组合的“告别”演唱会(这场告别演唱会一直持续到2015年的重聚)，或者是对技巧的尝试(野兽男孩2006年的专辑) “太棒了”, entirely made up of footage taken by members of the crowd). 最近, with streaming services’ perpetual need for content, 肖恩·门德斯(Shawn Mendes)和爱莉安娜·格兰德(Ariana Gr和e)等流行明星的演唱会电影已经成为宣传的主要内容.
Beyond its incorporation of local 和 global events in 1969, what’s different about “Summer of Soul” was Thompson’s approach to editing, which was based in his background as a musician 和 especially as a D.J. “When I was stuck, my producer 和 editor would say, ‘If this was a D.J. gig, what would you do next?’”汤普森解释道，并补充道，“如果这部电影是我最喜欢的全民公敌专辑或D.J. set I was doing, how would I cut 和 scratch 和 go to the next thing?”
鲍尔斯认为，正是这种结构最终使这部电影有别于传统的音乐会纪录片:“他把评论和音乐融合在一起，这是一项了不起的工作. You’re getting the concert, 但你也将音乐历史的这一层巧妙地融入到讨论中.”
《澳门葡京官网》呈现的是一个围绕着种族和政治的深刻问题的当代时刻, 它所讲述的围绕哈莱姆文化节的文化和背景的故事是必要的. 但同样重要的是——就像任何一部伟大的音乐会电影一样——影片核心的精彩表演应该得到认可.
“It benefits from a heightened political awareness, but it also enables you to see these talented folks on display, being appreciated by a Black audience,” Dr. “面具”说，并补充说，“澳门葡京游戏习惯于打开新闻，听到关于黑人的痛苦. ‘Summer of Soul’ gives audiences an opportunity to celebrate Black joy.”