2014.04.13【英译汉】Documentaries (Part II)

heyjude1943 (兔纸) 初涉译坛
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发表于:2014-04-13 10:07 [只看楼主] [划词开启]

Part I : 2014.04.10【英译汉】Documentaries Have Always Been Fake


Part II

自评难度:★★★☆

译文字数:798 (word统计)



For “Chronicle of a Summer,” from 1960, which Rouch made with the sociologist Edgar Morin (who, happily, is still working—and is on Twitter), the method was turned inside out. The premise of the film is expressly documentary—a Parisian person-in-the-street survey—but the filmmakers reveal their sociological methods in advance, in a preliminary scene where they make their plans with the onscreen interviewers. When the range of participants expands and the haphazard street interviews morph into organized roundtable discussions, those interviewers take part, joining the ranks of the movie’s subjects—as do Morin and Rouch themselves. And those prepared scenes give rise to a spontaneous and improvised yet highly directed sequence in which one of the interviewers, Marceline Loridan, delivers painful reminiscences in a psychodramatic monologue, spoken into a tape recorder, that morphs the documentary suddenly and inextricably into fiction.
1960年的《夏日纪事》,鲁什与社会学家埃德加·莫兰(值得高兴的是此人仍在工作,并有推特账号)合作,拍摄手法完全呈现出来。这部电影的前提是特别纪录片——巴黎街头人物调查——但制作人使用了前卫的社会学方法,在最开始的场景中,他们与纪录片中的调查人员共同制定计划。后来随着参与者的增多,随意的街头采访就演变成为有组织的圆桌讨论,这些调查员的参与并加入了对电影主题的归类,一如导演莫兰和鲁什。而且这些准备场景引发了一种即兴自发且高度定向的后续事件,例如其中一个调查员杰佛逊·洛利丹,即兴发挥了一段对痛苦回忆的心理独白,他对着录音机演说,顿时一部纪录片就这么困惑的化为虚构。



At the same time, fiction filmmakers, such as Jean-Luc Godard, who were inspired by Rouch made dramatic features that were audaciously reflexive and self-revealing. In Hollywood, this was primarily a comic mode, with the films of Frank Tashlin and Jerry Lewis. In the world of American documentary filmmaking, Robert Drew— working with such cinematographers as Richard Leacock, D. A. Pennebaker, Albert Maysles, and Terrence McCartney Filgate—radically transformed the medium, eschewing the one-way reporting from behind the camera’s invisible authority in favor of a unified field of existential endeavor, featuring camera-conscious, self-creating subjects, by way of such films as “Primary,” “The Chair,” and “Crisis.”
与此同时,剧情片电影人让-吕克·戈达尔——受到鲁什的启发拍摄极富戏剧性,充满了大胆的自身反应和自我揭示。在好莱坞,这曾是喜剧片模式,例如弗兰克·塔希林和杰里·刘易斯的电影。在美国纪录片中,罗伯特·德鲁(曾与电影摄影师理查德·利科克, D.A.彭纳贝克,阿尔伯特·梅斯莱斯,和特伦斯·麦卡特尼·菲尔季特合作),他们从根本上改变了拍摄方式,避免了纪录片躲在摄影机之后单向报道的无形权力,转向主客体共同存在的领域,拍摄出具有摄像头意识、能进行自我创造的对象,这样的电影有《初选》、《椅子》、《危机》。



I haven’t seen all of the films in “Art of the Real” (it’s an admirably ample and wide-ranging series), but among the notable films I’ve seen there—in addition to the two I discuss in the magazine, Robert Greene’s “Actress” and Corneliu Porumboiu’s “The Second Game”—are Stephanie Spray and Pacho Velez’s “Manakamana,” Mati Diop’s “A Thousand Suns,” Thom Andersen’s “Eadweard Muybridge, Zoopraxographer,” and “Red Hollywood,” which Andersen co-directed with Noël Burch. Each of them, in its own way, arises from—and reënergizes—the historical currents, running from the very start of movies, that fuse what’s seen with what’s imagined, public events with the inner life, the filmmaking process with the world that it has, radically and irrevocably, transformed.
我并没有完全看过“真实的艺术”系列的全部影片,(这是一个令人钦佩的包含丰富而广泛的电影系列),不过我已经看过其中很多的著名影片。还有两部我在杂志中谈到的电影(罗伯特·格林的《女演员》和柯内流·波蓝波宇的《第二场比赛》)这些影片是:斯蒂芬妮·斯普尔德和巴乔·贝莱斯的《玛纳卡玛纳》;马蒂·迪奥普的《一千个太阳》;汤姆·安德森的《摄影师艾德沃德·迈布里奇》和《红色好莱坞》(安德森与诺埃尔·伯奇共同导演)。他们之中的每个人,通过自己的方式,从电影之初的源头引导和激励了影史的潮流,确保了一代代电影人的所见所思;对公众事件追究内在故事;将整个世界彻底转化,镌刻在电影中。



最后编辑于:2014-04-13 11:06
分类: 英语
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