2014.06.08【英译汉】Tricked by a Great Film (2/3)

heyjude1943 (兔纸) 初涉译坛
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发表于:2014-06-08 11:01 [只看楼主] [划词开启]

http://s.hujiang.com/topic/141492/ ←上篇

The film tells the story with a remarkable blend of voices. Footage of the sixteen-year-old Darius at school, with his friends, and elsewhere in the course of his daily routine leading up to the crime is intercut with interviews, seen in low-fi, seemingly consumer-grade video, mainly in closeup, with the people in Darius’s life—family members, friends, former teachers—who don’t address the camera but, instead, speak directly to the protagonist, who remains offscreen.
影片在叙事时混音非常突出。16岁少年德莱士和朋友在学校、或是在他日常生活最后导致犯罪的连续镜头与人物采访互相混切、声音的低保真度,看上去就像消费级的视频一样。那些特写镜头的控制——德莱士生活中出现的人物,不管是家庭成员、朋友、前任老师,全都不去刻意对着镜头说话,相反,都是直接对着屏幕外的主角在讲话。


The word I haven’t used yet in describing the movie is “documentary.” That’s how “Evolution of a Criminal” is listed in the festival program, and the filmmaker is the onetime criminal Darius Clarke Monroe. Yet there’s nothing in the film that labels it as a documentary. It’s obvious that the scenes of the bank robbery and the surrounding events are staged reconstructions, or, simply, fiction filmmaking, and as I watched the film I wondered whether even the interviews were scripted and performed by actors.
我在之前描述这部电影的时候还没用“纪录片”这个词。《罪犯进化录》得以参展就因为这是个纪录片,而导演就是是曾经的罪犯德莱士·克拉克·门罗。不过,电影里看不出一点纪录片的迹象。银行抢劫的场景和还有周边发生的事件明显是摆拍的,或者简单地说,就是剧情片的架势,我在看电影的时候就在想那些采访片段是不是都事前打好稿子让演员照着演的。


By and large, I’m the sworn enemy of fictionalized reconstruction in documentaries, which are often either a deception (staged events that are intended to pass for unstaged ones, new footage that’s meant to be taken for archival images) or dramatic filmmaking that’s often done without the imaginative and interventionist skill of even run-of-the-mill fiction filmmakers. But, in “Evolution of a Criminal,” the reconstructions have the opposite effect: the overt fictiveness of the reconstruction (no filmmaker could have been on hand to film a bank robbery in progress) reflect onto the entire film, giving it the aspect of fiction. What’s more, the film’s first-person testimony is so dramatically powerful and moving—and filmed with such a poised, untheatrical, fixed-focus, and long-take style—that I found myself wondering whether the director had composed it as a script and gathered a cast of actors to perform it for the camera.
总的来说,我和虚构重建的纪录片是不共戴天的,因为这类纪录片往往要不然就是欺骗(明明是摆拍的情景却要当做没摆拍而浑水摸鱼,新拍镜头常常要假装档案影像的样子);要不然就是戏剧化的拍摄——问题是这种戏剧化连三流剧情片的想象力和互动技巧都没有。但是,在《罪犯进化录》中的虚构重建却产生截然相反的效果:导演公然的虚构和重建(因为没导演能够就地取材的拍抢劫银行)反映到了整个电影,给了它虚构的空间。更有甚者,这部电影的第一人称的视角极富戏剧性,感染力强大——而且镜头平稳、非戏剧化、定焦和长镜头的风格,我觉得自己难以分辨这到底是导演写好剧本刻意为之还是集齐演员在镜头前自由发挥。


The next question is: What difference would it make? The designation of “documentary” is a strange one—it’s an extra-cinematic label, a term of marketing or of advertising. There’s nothing within a movie that can affirm its status as drama or as report. Even the depiction of widely known historical events may be fictionalized. (Taken to its fullest extreme, doubting the power of cinematic or journalistic observation leads to paranoid conspiracy theories.)
接下来的问题是:这么做会有什么不同? “纪录片”的称号是个奇怪的东西一它是一种特殊电影的标签,一个营销或广告术语。从一部电影中无法找到能够确认它身份的东西,例如电影的戏剧性或是纪实性。甚至对广为人知的历史事件的描述也可能是虚构的。(发挥到极端的话,对影像能力或是新闻观察的怀疑将会导致偏执的阴谋论。)

最后编辑于:2014-10-30 15:49
分类: 英语
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