Name: 爵士樂竟然出現在《七王國的騎士》裡？ 🤯 (What's Jazz Doing In A Knight Of The Seven Kingdoms?)
Uploaded: 2026-03-04T06:14:44.000Z
Duration: 10 min 15 s
Description: 【看影片學英語】數萬部 YouTube 影片，搭配英漢字典即點即查，輕鬆掌握單字發音與用法，長久累積看電影不必再看字幕。

The creators of A Knight of the Seven Kingdoms made an interesting creative choice in their season one finale.

《A Knight of the Seven Kingdoms》的創作者在第一季的結尾做了一個有趣的創意選擇。

To be specific, 30 seconds of jazz trumpeter Kenny Dorham's rendition of Alone Together from his amazing 1959 hard bop album Quiet Kenny Durham was an underrated master of the bop era.

具體來說，是爵士小號手 Kenny Dorham 在他驚人的 1959 年硬式咆勃專輯《Quiet Kenny》中演繹的《Alone Together》長達 30 秒。Durham 是咆勃時代被低估的大師。

His playing, especially his playing on Quiet Kenny, has been described as intimate satisfaction, sensitive, unforced, yet deeply emotional.

他的演奏，特別是他在《Quiet Kenny》裡的演奏，被形容為親密滿足、敏感、自然，卻又極富情感。

All words that would describe this season of A Knight of the Seven Kingdoms.

這些詞語都能用來形容這季的《A Knight of the Seven Kingdoms》。

But the choice to include this jazz song is not primarily interesting for what jazz song it is, but

但選擇加入這首爵士樂，主要有趣之處不在於它是哪一首爵士樂，而是

因為它是爵士樂，就這麼簡單。

Jazz is a genre of music that doesn't align with the aesthetic conventions of George R.R.

爵士樂是一種與 George R.R. Martin 的中世紀奇幻世界的美學慣例不符的音樂類型。

這是明顯來自我們觀眾世界的音樂。

It's noticeably music from our world, the world of the audience.

For some, this inclusion was jarring in an unwelcome way.

對某些人來說，這樣的安排顯得突兀，而且不受歡迎。

A number of people online commented that the jazz music took me out of the story.

許多網友都說，這段爵士樂讓我出戲了。

They expressed that as if it were a bad thing, and for them maybe it was.

他們這樣說，好像這是一件壞事，對他們來說，或許確實是。

But I also think it's part of the intention of that choice.

但我也認為，這也是這個選擇的用意之一。

Such an aesthetic or tonal mismatch is bound to be a bit jarring.

這種美學或風格上的不協調，難免會讓人覺得有點突兀。

It does take you out of the story, or more precisely, it creates a double consciousness in which part of your attention is still following the narrative while another part is suddenly made aware of the narration itself to the fact that you're being told a It's also funny, a little bit of comedy and light heartedness to contrast with the tragic ending of the previous episode.

它確實會讓你出戲，或者更精確地說，它會創造一種雙重意識，一部分的注意力還在跟隨劇情，另一部分則突然意識到敘事本身，意識到你正在被告知一個故事。這也很有趣，帶點喜劇和輕鬆感，與前一集的悲慘結局形成對比。

A Night of the Seven Kingdoms is full of gags, and this is certainly one of them.

A Knight of the Seven Kingdoms 充滿了笑料，這絕對是其中之一。

But I do think there's something deeper here too, because there are a number of similar creative choices in this finale, too many I think, to be just coincidental.

但我認為這裡面還有更深層的東西，因為在這個結局裡，有許多類似的創意選擇，我認為多到不可能是巧合。

For example, the episode ends with another anachronistic needle drop 16 tons by Tennessee Ernie Ford, a country hit from 1955 about the labor exploitation of coal miners in Kentucky, workers who were paid in scrip not cash, but

例如，這一集最後又出現了一個時代錯位的音樂選用，是 Tennessee Ernie Ford 的 16 tons，這是 1955 年的鄉村熱門歌曲，關於肯塔基州煤礦工人的勞動剝削，他們領的是代幣而非現金，但是

credits that could only be spent at the company store, effectively enforcing their loyalty.

這些代幣只能在公司商店使用，有效地迫使他們保持忠誠。

The subject matter is grim, but the music isn't.

主題雖然嚴肅，但音樂卻不是。

Ford croons jovially over finger snaps and a walking baseline narrating a character resigned to his fate.

Ford 愉快地唱著，伴隨著指響和緩慢的貝斯線，敘述著一個認命的角色。

The tonal contrast parallels the shows in which Dunk and Egg move through a viol world with as much cheerfulness as it's possible to muster, each trapped inside systems that are very hard to escape or change.

這種語氣上的對比，呼應了 Dunk 和 Egg 在一個充滿暴力的世界裡，盡可能開心地穿梭，卻又都困在難以逃脫或改變的體系中。

Pre existing songs like this weren't used once in eight seasons of Game of Thrones or the first two of House of the Dragon.

在《冰與火之歌》的八季或《龍之家族》的前兩季裡，從未出現過像這樣預先存在的歌曲。

在這短短 30 分鐘的這一集裡，我們就出現了兩首。

Both are disorienting, or maybe a better word is reorienting, because they reorient the viewer's relationship to the show.

這兩首都讓人感到迷失，或者說，或許用「重新定位」來形容更好，因為它們重新定義了觀眾與劇情的關係。

Of course, all non diegetic music, music that the charact can't hear, is a narratorial device.

當然，所有非戲劇性的音樂，也就是角色聽不到的音樂，都是一種敘事手法。

But the music in the other shows isn't designed to make you aware of itself.

但其他劇中的音樂，並不是為了讓你意識到它的存在。

It's designed to deepen your immersion in the story.

它的目的是加深你對劇情的沉浸感。

In A Night of the Seven Kingdoms, composer Dan Roemer expands and experiments with the conventions of epic fantasy scoring, bringing in elements of music from the western genre.

在《A Knight of the Seven Kingdoms》中，作曲家 Dan Roemer 擴展並實驗了史詩奇幻配樂的慣例，融入了西部類型音樂的元素。

But he's careful not to stray too far from the sonic universe created by Ramin Djawadi on Game of Thrones.

但他很小心，沒有偏離 Ramin Djawadi 在《權力遊戲》中創造的聲景太遠。

There was definitely like a bit of a feeling of like, how do we make this sort of feel like a western, but

確實有一種感覺，像是，我們該如何讓它有點西部片的感覺，但

We can't just go like full spaghetti Western style.

我們不能就這樣完全變成義大利西部片的風格。

你知道，我們需要讓它保持紮實。

In Westeros, Roemer's experimentation stretches the conventions, but the Dorham and Ford needle drops are far more radical.

在維斯特洛，Roemer 的實驗擴展了慣例，但 Dorham 和 Ford 的插曲式音樂更為激進。

When they come on, it's as if all of a sudden you can feel the storyteller's hand.

當它們出現時，就好像你突然能感覺到說書人的手。

You can feel that hand again in the closing title card, as Dunk and Egg leave the tourney and head out onto the road.

在片尾字幕中，當 Dunk 和 Egg 離開比賽，踏上旅途時，你又能再次感受到那隻手。

Dunk mus on where they could go in the Seven Kingdoms, and

Dunk 沉思著他們能在七大王國去哪裡，而

Egg corrects him, saying that there are actually nine kingdoms.

Egg 糾正他，說其實有九個王國。

Moments later, the show fades out to the familiar title card.

幾分鐘後，節目就淡出，出現熟悉的片頭。

But this time it replaces the seven with nine.

但這次，它把七個換成了九個。

Now, a title card may seem like a small thing, and it is.

現在，片頭可能看起來是小事，也確實是。

But all the small things that exist at the threshold of an artistic text play an important role in framing our experience of it.

但存在於藝術文本邊緣的所有小細節，都在塑造我們體驗它的過程中扮演重要角色。

Collectively, these things, the title cards, end credits, the previously on recap, trailers, posters, press stores, even the episode thumbnail on HBO Max.

總的來說，這些東西，像是片頭、片尾字幕、之前的劇情回顧、預告片、海報、新聞稿，甚至是 HBO Max 上的單集縮圖。

All these things and more comprise what's called the paratext, a term coined by the French narratologist Girard Jeannette.

所有這些以及更多東西，構成了所謂的「旁文本」，這是法國敘事學家 Girard Jeannette 創造的詞。

The paratext exists at the threshold of the work, outside the story world, but

旁文本存在於作品的邊緣，在故事世界之外，

但卻與它呈現給我們的方式息息相關。

Normally, the boundary between the fictional world and its framing apparatus is a solid one.

通常，虛構世界和其框架裝置之間的界線是堅固的。

But here, for a moment, that boundary becomes permeable.

但在這裡，這一刻，那界線變得模糊了。

It's as if the title card heard what Egg was saying.

感覺就像片頭字幕聽到了 Egg 在說什麼。

This is an example of what Jeannette calls metalepsis, a transgressive crossing of narrative levels.

這是 Jeannette 所說的「情節跨越」的一個例子，一種越界的敘事層級。

It's a ra soft metaleptic event, nothing so extreme as, say, Deadpool making a comment about Ryan Reynolds, but

這是一個溫和的情節跨越事件，不像 Deadpool 評論 Ryan Reynolds 那樣極端，但

it still serves to create that double consciousness, drawing our attention to the constructedness of this show.

它仍然有助於創造雙重意識，讓我們注意到這個節目的建構性。

The last choice I wanted to look at is a flashback in which Ser Arlan of Pennytree tells Dunk the story of how the Penny Tree got its name.

我最後想看的一個例子是，在一個閃回片段中，來自 Pennytree 的 Ser Arlan 告訴 Dunk 這個 Penny Tree 名字的由來。

There's a moment where Ser Arlen pauses and Dunk asks him a sensitive question, but

有那麼一個時刻，Ser Arlen 停頓了一下，Dunk 問了他一個敏感的問題，但是

After a second, it appears as if the old man has finally passed on.

過了一秒，老先生似乎終於離世了。

then Arlen jerks awake to end his tale, because a true knight always finishes a story.

Arlen 卻猛然醒來結束了他的故事，因為真正的騎士總會講完故事。

For casual viewers, this is just a moving scene.

對於一般觀眾來說，這只是一個感人的場景。

martin's work, there's a resonance here that's impossible to miss the unending discussion and anxiety about Martin's long delay in finishing A Song of Ice and Fire.

Martin 的作品的粉絲來說，這裡有一種無法忽視的共鳴，那就是關於 Martin 遲遲未能完成《冰與火之歌》的無盡討論和焦慮。

Just a few months ago at Worldcon 2025, someone asked Martin if he was going to authorize someone else to finish his series, since he's not going to be around for much longer, a question that was rightly condemned by Martin's fellow panelists and other attendees at the event.

就在幾個月前的 2025 年 Worldcon 上，有人問 Martin 是否會授權別人來完成他的系列，因為他時日無多，這個問題被 Martin 的同臺講者和其他與會者們理所當然地譴責了。

In January 2026, Martin commented on the incident.

2026 年 1 月，Martin 對此事件發表了評論。

I really didn't need that shit, he told the Hollywood Reporter.

我真的不需要那些鳥事，他告訴《好萊塢報導者》。

Is it a coincidence that in the flashback, Sir Arlin appears to die before finishing his story?

在閃回片段中，Arlin 爵士似乎在講完故事前就死去了，這是一個巧合嗎？

Martin 並沒有撰寫這個改編劇本，但他

he is a producer on the show and seems to have worked closely with showrunner Ira Parker.

是這部劇的製作人，而且似乎與節目統籌 Ira Parker 密切合作。

The two of them would have to be naive to think that viewers in the know wouldn't make that connection.

他們兩個人要嘛是天真到不行，不然就是沒想到內行的觀眾不會把這兩件事聯想在一起。

The pattern I've been talking about the discussion about Martin's delay, the question at Worldcon, Martin's response, the TikTok videos discussing this very scene.

就是我之前在討論 Martin 拖稿、Worldcon 的提問、Martin 的回應、以及那些討論這個場景的 TikTok 影片時，提到的那個模式。

In light of those things, all of that is paratext, too.

考量到這些，所有這些都算是「戲外文本」了。

The show is inviting us to enjoy the reference, the in joke, to see that it's making a joke.

這部劇就是在邀請我們去欣賞這個致敬、這個只有內行人才懂的梗，去發現它在開玩笑。

Here again is the storyteller's hand in a scene where a character is telling a story.

在這個角色正在講故事的場景裡，我們又看到了說故事者的巧思。

What does breaking our immersion in these ways accomplish?

這樣破壞沉浸感，究竟有什麼意義呢？

The answer, I think, is in that question, because it's wrong for me to say that these creative choices break immersion, because they don't really.

我認為答案就在這個問題裡，因為我說這些創意選擇破壞了沉浸感，其實是不對的，因為它們並沒有真正破壞。

We're still immersed, still deeply engaged.

我們仍然沉浸其中，仍然全神貫注。

It's just that part of our consciousness is engaged in a way that's not typical of our experience of this kind of fantasy media epic fantasy has long privileged the kind of immersion that Tolkien called secondary belief, the temporary acceptance of a fictional fantasy world as real.

只是我們意識的一部分，是以一種不同於我們體驗這類史詩奇幻媒體的方式在參與，奇幻類型一直以來都偏好那種託爾金稱之為「次級信念」的沉浸感，也就是暫時接受一個虛構的奇幻世界為真實。

There are huge benefits to evoking this belief in the reality, reader or viewer.

喚起這種對讀者或觀眾的真實感，有巨大的好處。

It triggers a profound and singular emotional investment in the fictional world, and especially in the characters.

這能激發對虛構世界，尤其是角色，產生深刻且獨特的情感投入。

We feel their triumphs and tragedies as our own.

我們感同身受他們的勝利與悲劇。

By drawing our attention to the constructedness of the story, we exchange some of that emotional investment for reflection.

藉由引導我們注意到故事的建構性，我們將一部分情感投入，換取了反思。

We're invited to interrogate the meaning of these tricks, triumphs and tragedies.

我們被邀請去探究這些技巧、勝利與悲劇的意義。

As we're watching, we ask why the storyteller is telling us this story, and

在觀看的過程中，我們會問說，說故事的人為什麼要告訴我們這個故事，

又為什麼要用這種方式來說呢？

How does the form of the story itself, or storytelling in general, construct meaning?

故事本身的形式，或是說故事這件事，是如何建構意義的？

How do we understand the concepts of chivalry or true knighthood if not as stories?

我們要如何理解騎士精神或真正的騎士道這些概念，如果不是透過故事的話？

After all, that's how these ideas first entered the world in the romances of the Middle Ages.

畢竟，這些想法最初進入世界，就是在中世紀的傳奇故事裡。

In what ways does the story story of dunk and egg affirm, challenge, or change those old narratives?

《A Knight of the Seven Kingdoms》的故事，在哪些方面肯定、挑戰或改變了那些舊有的敘事呢？

You can and usually do have both emotional investment and aesthetic reflection.

你可以，而且通常也會同時擁有情感投入和美學上的反思。

A Knight of the Seven Kingdoms certainly does.

《A Knight of the Seven Kingdoms》當然是這樣。