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原文The newsreel commentator, the actor, the intellectual, and the broadcaster: celebrity and personality voices in classic British
documentary
Author: Martin Stollery
Independent Researcher, London, UK
This paper explores some hitherto overlooked intersections between British documentary of the 1930s and 1940s and celebrity culture. It does so through the analysis of voice-over commentary in a
range of different films from this period. We might be forgiven for assuming that the relationship between documentary film-making and the field of celebrity culture, broadly defined, is a fairly recent hi
storical phenomenon. The examples that spring to mind are documentaries fronted by film-makers who have become celebrities, such as Michael Moore, or numerous recent film and television documentaries about celebrities. Y et the relationship has a much longer, multifaceted history. This history can be traced at least as far back as the late 1930s, the period during which the British documentary film movement consolidated, diversified and subsequently played an important role within wartime culture. Analysing some points of intersection will shed new light on both fields of research. Strategically, this analysis also supports an agenda outlined by two contributors to an earlier issue of this journal. David Beer and Ruth Penfold-Mounce (2010) argue that, although the academic study of celebrity can capitalise upon wider public interest in this topic, it needs to vigorously address perceived doubts about its value.
Historians of 1930s and wartime British documentary have overlooked or underestimated the fact that many of these films incorporated in their commentaries certain types of personality and celebrity voices. One of the main reasons for this oversight is that the standard narrative of the British documentary film movement is largely conceived in terms of classic films. It emphasises the influence upon the
movement of preceding, canonised films, such as Nanook of the North (Robert Flaherty, 1922) and B
attleship Potemkin (Sergei Eisenstein, 1926), followed by the movement's alleged influence upon subsequent British feature films, for example some of Ealing Studios‟ wartime and post-war output. Less attention has been paid to British documentary's relationship with other types of non-fiction film, such as newsreel, or to other media.
The lack of close attention to commentary in British documentaries of the 1930s and 1940s is also partly the consequence of what Stella Bruzzi (2006, p. 47) has described as the predominance, until recently, within academic studies, of an …oversimplified perception of voice-overs as all in some manner pertaining to the most basic “V oice of God” model‟. Film-makers typically give careful consideration to which specific voice will most effectively support the truth claims advanced by a particular documentary, and whether it will resonate with audiences affectively as well as intellectually. Simon Frith (1996, pp. 192, 198) has argued, in a different context, that listeners …hear voices as physically produced‟, and that …we use the voice […] not just to assess a person, but also, even more systematically, to assess that person's sincerity: the voice and how it is used (as well as words and how they are used) become a measure of someone's truthfulne ss‟. John Grierson would probably have agreed with sociologist Richard Sennett's (2002, p. 4) famous thesis about modern
Western culture's …obsession with persons at the expense of more impersonal social relations‟. The British documentary movement can be understood as a project designed to use cinema to encourage audiences to participate in a public sphere primarily governed by rationality and partly removed from personal concerns. Y et Grierson also stressed the importance of emotional engagement, and keenly appreciated the attraction of audiences to film stars. He wrote in 1927, …in the really significant cases, the relation of the star to the public is too intimate to be set down to the wiles of advertisement or the necessities of showmanship‟ (cited in Jarvie and Macmillan 1989, p. 319). Battleship Potemkin, on the other hand, represented one possible alternative to this …tyranny of individualism… “general audiences […] cheered their way through the film” because of the “pride of class” to which it appealed‟ (p. 320). In his 1934 discussion of documentary commentary, Grierson (p. 216) argued that an intimacy similar to the relationship between public and film star could be achieved by using anonymous representatives of the working class and/or specific occupational groups to voice commentaries.
Cameron (1944, p. 4) did not explicitly endorse …personality‟ commentators, and he added a caveat: documentary sound recordists, unlike those in features, needed to have …scruples on the score of realism‟. Nevertheless, the professional standards he espoused strongly implied that …properly trained voices‟, such as those of carefully selected newsreel
postman的中文翻译commentators, film actors or radio broadcasters, were best suited to deliver documentary commentary.
Intellectuals and radio broadcasters, provided a better fit. Selected intellectuals were typically represented by British documentary film-makers as personally embodying a more profound …measure of truthfulness‟ than newsreel commentators; this assumption is made explicit in World of Plenty (Paul Rotha, 1943). Intellectuals also provided the clearest example of how authoritative truth claims were made by specific, embodied, individual voices within documentary commentary. Broadcasters benefited from the BBC's reputation, especially during wartime, as a reliable source of information. In the following sections of this essay, I will discuss the issues raised by each of these four groups of commentators. I will also explore, through indicative case studies, the semantic and emotional resonances that commentaries by specific personalities or celebrities could bring to particular documentary films.A December 1937 World Film News article asserted that the …voices of Britain‟ on British Movietone Newswere reportedly …heard by an average of about fifteen million cinemagoers each week‟
If newsreel voices were potentially compromised by their connotations of superficiality, entertainment, and early wartime restrictions, Grierson's concerns about actors focused on their acce
nts and a ssociation with fiction. He concluded, in 1937, that the …West End stage

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