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

heyjude1943 (兔纸) 初涉译坛
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发表于:2014-06-08 11:10 [只看楼主] [划词开启]

http://s.hujiang.com/topic/141493/ ←上篇


In any event, much of what’s understood in movies depends on factors external to the film, starting with cultural context, which lets filmmakers get away with visual shorthand or outright omissions of what viewers can be expected to know. But, in general, there’s something strange about labels of genre. Whether documentary, Western, science fiction, or romantic comedy, they invite an unfortunate form of aesthetic discrimination, as if different rules and different terms of evaluation apply to a movie because it features a cowboy, a robot, a love story, or a real-life event.
任何情况下,人们对电影的理解仅仅只能依赖于电影表象的因素,例如文化背景,它可以让电影人利用视觉符号或是一些特意的疏漏(观众可以预知的、省略掉的情节)。但是,通常情况下,一旦电影贴上的相关体裁的标签,事情就有些变得有些奇怪。无论是纪录片,西部片,科幻片,或爱情喜剧,它们不按照套路来就会遭到审美歧视,因为适用于各种电影规则和评价是各不相同的,例如拍牛仔跟机器人不一样,拍爱情故事和生活纪实又不相同。


I often feel that the very notion of genre is much more important to a studio’s marketing department than to the art of the movie itself. Documentaries are no less works of art than are dramatic films; the virtue of dramatic films involves a core of emotional and ideal authenticity and a sense of wonder, just as documentaries do. Yet, unlike dramas, documentaries rest on the claim of factuality, of the events in the movie having actually taken place. There’s a continuum linking naturalistic drama and documentary that seems to be broken when special effects are involved.
我常觉得体裁这个概念对于一个工作室的营销部门更为重要,而跟电影本身的艺术性关系不大。纪录片跟剧情片同样都是艺术作品,剧情片的优点是情感核心、理想化的真实性、还有惊奇感;同样纪录片也具有这些因素。不过,纪录片和剧情片不一样的地方是:纪录片基于对真实性的要求,在纪录片中出现的事件需要真实发生过的。自然主义的戏剧与纪录片有一种连续不断的天然联系,不过一旦出现特效的话这种联系就会被打断了。

That’s why the Chinese director Jia Zhangke’s films “Still Life” and “24 City” stand as such signal works of cinematic modernism. In the former, a drama about life alongside the enormous Three Gorges Dam—based on the lives of people whom Jia encountered there—is punctuated by surprising special effects. The latter, about the demolition of a former industrial complex and its replacement with a blend of luxury apartments and offices, features interviews with employees and residents, some of whom are played by well-known actors. The very notion of reality is psychological. The ease with which reporting is skewed by selectivity and interpretation, by editing and tone, should suffice to override the apparently obvious distinction between “fact” and “fiction.”
这就是为什么中国导演贾樟柯的电影《三峡好人》和《二十四城记》成为现代主义电影的标志性作品。前者讲述的是围绕三峡大坝人生之戏——电影基于贾导在此处偶遇的人们和他们的生活——惊人特效不时地穿插在这出戏中。后者是关于一个前工业园区的拆迁,此处即将被豪华公寓和写字楼所取代。影片拍摄了对员工和居民的采访,其中一些人员是由著名演员扮演的。“现实”的概念只是心理因素。通过编辑和配音,所谓的纪实性是经过选择和演绎的,“事实”和“虚构”的鸿沟就这样公然地弭平了。


The verifiability of journalism is its crucial and indispensable social function, and is precisely the limit that keeps it from becoming art. The art of nonfiction, the essay, is intimate, subjective, and interpretive. It’s precisely what can’t be checked—the writer’s inflection—that turns a report into an experience. The collection of facts in “Evolution of a Criminal” is just interesting. Its images, its shape, its tone, and its implications make it a terrific movie, as well as the birth of an artist.
新闻行业的可验证性是其关键且不可缺少的社会功能,不过恰恰是这种局限使之难以称之为艺术。散文文学作为艺术形式具有亲密性、主观性和解释性。这恰恰保证了作品是不可验证的。(因为所有一切都是作者自己的反映),一份真实纪录往往变成私人体验。《罪犯进化录》里收集的事实很有意思。它的图像、外形、基调、和涵义使之成为一部极好的电影,同样见证了一名艺术家的诞生。



字数:1990+


(我能说啥呢,写的佶屈聱牙还这么软!鄙视之)

最后编辑于:2014-10-30 15:49
分类: 英语
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