ABSTRACT

For as long as there has been country music, Nashville has been its spiritual if not actual home. This city of recording studios, rehearsal spaces, music shops and venues is one of a small number of cities associated with a specific music genre and the creative cultures and attention this inevitably attracts. But just as heritage is never fixed and always becoming, Nashville - and the perception of Nashville - is changing, to the point where it may no longer have the primacy it once held. In a globalised music industry where not all country music is from Nashville, nor even the United States, new ‘Nashvilles’ emerge and grow, commensurate with actual or relative decline in the prominence of the original. This might be considered a heritage dilemma (heritage ‘at risk’, and a challenge to traditional views on authenticity), but equally the argument can be made for a new heritage replacing or augmenting the old. By considering the city’s ‘at risk’ status, and assessing the fictional representation of a reimagined Nashville in the Scottish city of Glasgow in the 2018 film Wild Rose, we explore this dilemma, and its challenge to heritage convention.

摘要

只要有乡村音乐，纳什维尔就一直是它的精神家园。这座拥有录音室、排练空间、音乐商店和场地的城市是少数与特定音乐流派相关的城市之一，并且不可避免地会吸引创意文化和关注。但正如遗产永远不会固定并且总是在变化一样，纳什维尔 - 以及对纳什维尔的看法 - 正在发生变化，以至于它可能不再拥有它曾经拥有的首要地位。在并非所有乡村音乐都来自纳什维尔甚至美国的全球化音乐产业中，新的“纳什维尔”出现并成长，与原作的突出地位的实际或相对下降相称。这可能被视为遗产困境（遗产“处于危险之中”，是对传统真实性观点的挑战），但同样可以为新遗产取代或增加旧遗产提出论点。通过考虑城市的“处于危险”状态，并评估 2018 年电影中苏格兰格拉斯哥市重新想象的纳什维尔的虚构表现野玫瑰，我们探讨了这个困境，以及它对传统惯例的挑战。