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

heyjude1943 (兔纸) 初涉译坛
58 1 0
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.

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.

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.”

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.



最后编辑于:2014-10-30 15:49
分类: 英语
全部回复 (1)

  • 0


  • 收藏

  • 扫一扫分享朋友圈


  • 分享