Boys in the Trees

BACKGROUND Class horror score tropes (Carpenter), sweet dystopian darkness (Badliamenti), contemporary soundtrack experimentation (Levi) and electronic audiovisual juxtapositions ("The Knick", "Stranger Things"), underpin contemporary approaches to soundtracks in this genre. For a film which relishes a genre fluidity, the researcher was tasked with the problem of simultaneously working with extant audiovisual and audionarrative conventions, as well as finding more experimental approaches - methodological and aesthetic - that responded to the experimental mode of the film. CONTRIBUTION Whilst the score embraced tender emotional proscription and visceral sonic violence, it eschewed anchoring images into meaning (Gorbman, 1987) in favour of an ambient residue of "the meaningful". Developing moods untied to scenes which were then fed into the visual edit, injected a level of noise into the collaborative process which short-circuited what is usually a more musically reactive process. This experimentation lead to a discovery of new audiovisual relationships - an innovation which underpins the score. SIGNIFICANCE. The ubiquity of the Hollywood approach to film score (WIlliams, Zimmer) has tended to minimise the soundtrack's potential to enrich and make more emotionally and conceptually sophisticated the audiovisual experience. Whilst, at points, this score abides by established tropes, it also eschewed emotional proscription in favour of a feeling of meaningful strangeness. Esteem indicators: Mushroom pictures. SA film & Screen Australia funding. Official film festival selection Toronto, Austin, Stockholm. Awards: Best Feature, Austin, Best Screenplay (Unproduced),NewFest 2011. Nominations: Best Music, FCCA; Best Original Score, AACTA, Best Feature, Nicholas Verso, AWGIE, Best Film 73rd Venice Film Festival https://itunes.apple.com/us/album/boys-in-trees-original-score/id1159214523 https://play.spotify.com/album/42QDJrFMDDkMqCLcf1eMAQ http://boysinthetrees.com.au/

研究背景（BACKGROUND）：经典恐怖电影配乐套路（Class horror score tropes）、甜酷反乌托邦暗黑风格（sweet dystopian darkness）、当代原声实验手法（contemporary soundtrack experimentation）以及电子视听并置手法（electronic audiovisual juxtapositions，代表作如《尼克病院》（The Knick）、《怪奇物语》（Stranger Things）），为本类型影片的当代原声创作思路奠定了核心基础。针对一部兼具类型跨界属性的影片，本研究面临的核心命题在于：既要沿用既有的视听与听觉叙事惯例，又需探索契合影片实验特质的方法论与美学创新路径。

研究贡献（CONTRIBUTION）：尽管本片配乐兼具细腻的情感规限与直撼感官的声响张力，但它并未遵循戈德曼（Gorbman, 1987）提出的"为画面锚定意义"的传统范式，转而追求"意义性"的氛围感留存。将独立于具体场景的情绪氛围融入视觉剪辑流程，为合作创作过程注入了非传统变量，打破了常规的"音乐响应画面"的创作逻辑。此次实验催生了全新的视听关系探索，这一创新正是本片配乐的核心支撑。

研究意义（SIGNIFICANCE）：好莱坞主流电影配乐创作范式（威廉姆斯（Williams）、齐默（Zimmer）的创作手法）的普及，往往弱化了原声在丰富视听体验、提升情感与概念深度层面的潜力。尽管本片配乐在部分环节沿用了既有套路，但它同时摒弃了直白的情感规限，转而营造出一种带有意义感的疏离质感。

认可度佐证指标：
- 出品方：蘑菇影业（Mushroom Pictures）
- 资助方：南澳电影与澳大利亚银幕署（SA film & Screen Australia）
- 国际电影节入选：多伦多电影节、奥斯汀电影节、斯德哥尔摩电影节

所获奖项：奥斯汀电影节最佳长片奖、2011年NewFest最佳未制作剧本奖
提名奖项：澳大利亚电影评论家协会（FCCA）最佳音乐奖、澳大利亚影视艺术学院（AACTA）最佳原创配乐奖、澳大利亚编剧协会（AWGIE）最佳长片奖（尼古拉斯·韦索（Nicholas Verso））、第73届威尼斯电影节最佳影片提名

相关资源链接：
https://itunes.apple.com/us/album/boys-in-trees-original-score/id1159214523
https://play.spotify.com/album/42QDJrFMDDkMqCLcf1eMAQ
http://boysinthetrees.com.au/