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For almost a decade, Taylor Swift has been waging, and winning, a war, smiling all the while.近十年來，泰勒·斯威夫特(Taylor Swift)一直都在一邊作戰(zhàn)一邊微笑，而且不斷取得勝利。

Country music has been — was — a natural enemy for her: hidebound, slow moving, lousy with machismo.She could break the rules and make people nervous simply by showing up.And yet country was also a hospitable host body.She faced almost no direct competition there, and it's a genre that embraces success, grudgingly if need be.鄉(xiāng)村音樂一直是——曾經(jīng)是——她的天敵：它守舊、動作慢、充滿大男子主義。她可以打破這些陳規(guī)，只憑她的出現(xiàn)就能讓人感到不安。然而鄉(xiāng)村樂也同樣是個好客的東道主。她在這個領(lǐng)域幾乎沒有直接競爭對手，而且這個音樂類型歡迎成功者，如果有必要的話也可以帶上一絲勉強。

Most important, country gave Ms.Swift context.It made her a transgressor, which means even her most benign songs could be read with mischievous intent.From the outside, she looked like a conquering titan.But from the inside looking out, even as the genre's biggest star, she was always something of an underdog，multiplatinum albums and accolades be damned.最重要的是，鄉(xiāng)村樂給了斯威夫特一個語境，令她成為叛逆者，也就是說，就連她最溫和的歌都可以被解讀為帶有惡作劇的意圖。從外界看來，她像是一個征服的泰坦巨人。但從內(nèi)部看來，作為鄉(xiāng)村樂中最大的明星，她永遠都是某種失敗者，不管唱片拿多少白金銷量、獎項，都受到詛咒。

That she would one day abandon country has long been clear.It's a big box, and a porous one, but a box all the same.“1989”(Big Machine), though, her fifth album and the first that doesn't at all bother with country, manages to find a new foe.很早以前，人們就知道她早晚有一天會拋棄鄉(xiāng)村樂。它是一個大盒子，雖然通風(fēng)良好，但畢竟是個盒子?！?989》（大機器[Big Machine]公司出品）是她的第五張專輯，也是她第一張完全沒有鄉(xiāng)村樂的專輯，它為她樹立了新的敵人。

Full of expertly constructed, slightly neutered songs about heartbreak, “1989,” which is to be released on Monday, doesn't announce itself as oppositional.But there is an implicit enemy on this breezily effective album: the rest of mainstream pop, which “1989” has almost nothing in common with.Modern pop stars — white pop stars, that is — mainly get there by emulating black music.Think of Miley Cyrus, Justin Timberlake, Justin Bieber.In the current ecosystem, Katy Perry is probably the pop star least reliant on hip-hop and R&B to make her sound, but her biggest recent hit featured the rapper Juicy J;she's not immune.《1989》將于周一（2014年10月27日——編注）發(fā)行，里面有大量結(jié)構(gòu)嫻熟、略帶中性色彩的傷心歌曲，它并沒有擺出對抗的姿態(tài)。但這張給人感覺很溫和的專輯有一個毫無疑問的敵人：那就是主流流行樂，《1989》與它格格不入?，F(xiàn)代流行歌星——更確切地說，是白人流行歌星——大都是模仿黑人音樂起家的。想想麥莉·塞勒斯(Miley Cyrus)、賈斯汀·汀布萊克(Justin Timberlake)和賈斯汀·比伯(Justin Bieber)吧。在當前音樂的生態(tài)系統(tǒng)里，凱蒂·佩里(Katy Perry)或許是對嘻哈樂和R&B依賴最少的流行歌手，但她最近的大熱歌曲里也有饒舌樂手杰西·J(Juicy J)獻聲，她也不能免疫。

Ms.Swift, though, is having none of that;what she doesn't do on this album is as important as what she does.There is no production by Diplo or Mike Will Made-It here, no guest verse by Drake or Pitbull.Her idea of pop music harks back to a period — the mid-1980s — when pop was less overtly hybrid.That choice allows her to stake out popular turf without having to keep up with the latest microtrends, and without being accused of cultural appropriation.但斯威夫特卻完全不受影響；她在這張專輯里沒有做什么和她做了什么一樣重要。它不是由迪普洛(Diplo)或者Mike Will Made-It制作，也沒有德雷克(Drake)或皮特布爾(Pitbull)客串。她對流行音樂的概念回溯到了20世紀80年代中期，那時候流行樂還沒雜交得這樣厲害。這個選擇令她可以縱觀流行樂的全局，而不必去追逐最新的小風(fēng)尚，也不會被指責為“文化盜用”。

That Ms.Swift wants to be left out of those debates was clear in the video for this album's first single, the spry “Shake It Off,” in which she surrounds herself with all sorts of hip-hop dancers and bumbles all the moves.Later in the video, she surrounds herself with regular folks, and they all shimmy un-self-consciously, not

trying to be cool.斯威夫特希望置身這些爭端之外，這表現(xiàn)在專輯首發(fā)單曲《甩掉它》(Shake It Off)的音樂錄像里。這是一首活潑的歌，錄像中她被各種嘻哈舞者所包圍，她自己笨手笨腳地做著每個動作，后來她身周換成了普通人，他們不自覺地搖擺身體，并不是想要擺酷。

See what Ms.Swift did there? The singer most likely to sell the most copies of any album this year has written herself a narrative in which she's still the outsider.She is the butterfingers in a group of experts, the approachable one in a sea of high post, the small-town girl learning to navigate the big city.看出斯威夫特做了什么嗎？這位有可能成為今年唱片銷量最高的歌手為自己寫下一個故事，在其中她仍然是個局外人。在一群專家中間，她是個笨拙的人，是一群高高在上的人當中可親的一個，是學(xué)著在大城市生活的小鎮(zhèn)女孩。

In that sense, the most important decision Taylor Swift made in the last couple of years had nothing to do with music: She bought a pad in New York, paying about $20 million for a TriBeCa penthouse.在這種意義上，泰勒·斯威夫特在最近幾年間做的最重大的決定和音樂沒有關(guān)系：她在紐約的翠貝卡買了一處公寓，這個屋頂套房花了2000萬美元。

It was a molting, the culmination of several years of outgrowing Nashville combined with interest in Ms.Swift that placed her in tabloid cross-hairs just like any other global star.這是一種蛻變，連續(xù)幾年，她都處在過度膨脹的納什維爾的頂點，再加上對她個人的興趣，這令她和所有全球明星一樣，無時無刻不處在小報的關(guān)注之下。

But it also afforded her the opportunity once again to be seen as a na?f.In

Nashville, she'd learned all the rules, all the back roads.Now, with that place more or less in the rear view, she is free to make the John Hughes movie of her imagination.That's “1989,” which opens with “Welcome to New York,” a shimmery, if slightly dim celebration of the freedom of getting lost in Gotham: “Everybody here was someone else before/And you can want who you want.”(As a gesture of tolerance, this is about 10 steps behind Kacey Musgraves's “Follow Your Arrow.”)但這也給了她機會，讓她可以再度被視為一個天真無邪的人。在納什維爾，她學(xué)會了所有規(guī)則，所有背后的門路?，F(xiàn)在，納什維爾已經(jīng)多少被她拋在腦后了，她可以自由自在地拍出自己想象中的約翰·休斯(John Hughes)式電影。這就是《1989》，第一首歌是《紐約歡迎你》(Welcome to New York)，這是一首輕快的歌，對于沉迷在哥譚市的自由表示一絲模糊的慶祝之意：“這兒的所有人以前都是別的人/你可以渴望你想要的人?！保ㄗ鳛橐环N寬容的姿態(tài)，這首歌比凱西·馬斯格雷福斯[Kacey Musgraves]的《跟隨你的箭》[Follow Your Arrow]后退了大概有十步那么遠）。

Ms.Swift hasn't been the type to ask permission in her career, but she has long seen herself as a stranger to the grand-scale fame that New York signifies.“Someday I'll be living in a big ol' city” she taunted a critic on “Mean,” from her 2010 album “Speak Now”;now here she is, making the New York spotlight her backlight.斯威夫特并不是那種在事業(yè)發(fā)展中要問別人該做什么的人，但她長久以來始終視自己為紐約所代表的盛大名利場中的異類?！坝幸惶煳視∵M一座巨大的老城市，”她在《賤》(Mean)這首歌里嘲笑一個評論家，這首歌來自她2010年的專輯《現(xiàn)在就說》(Speak Now)；現(xiàn)在她來了，紐約的聚光燈正從背后照亮她。

On this new stage, Ms.Swift is thriving.And crucially, she is more or less alone, not part of any pop movement of the day.She has set herself apart and, implicitly, above.置身這個嶄新的舞臺，斯威夫特充滿渴望。重要的是，她多少是孤單一人，并不依附當今的任何流行音樂運動。她讓自己置身事外，而且，毫無疑問地是置于各種運動之上。

The era of pop she channels here was a collision of sleaze and romanticism, of the human and the digital.But there's barely any loucheness in Ms.Swift's voice.Her take on that sound is sandpapered flat and polished to a sheen.The album, named for the year she was born, is executive produced by Ms.Swift and Max Martin, and most of the songs are written with Mr.Martin and his fellow Swede Shellback.Both men have helped shape the last decade of pop but what's notable here is their restraint.(Mr.Martin also did almost all the vocal production on the album.)Ms.Swift's old running buddy Nathan Chapman produced “This Love,” a mournful ballad that would have been at home of the “Hunger Games: Catching Fire” soundtrack, and the only song here that could be mistaken for a concession to country.她所置身的這個流行時代是一片污穢與浪漫主義的融合，是人類與數(shù)碼的融合。但斯威夫特的聲音里卻沒有一絲頹廢。她把握住這個聲音，把它打磨平滑，令它熠熠生輝。這張專輯以她出生的年份命名，由她和馬克斯·馬丁(Max Martin)共同制作，大多數(shù)歌都是馬丁與合作伙伴斯維德·謝爾巴克(Swede Shellback)合寫。兩人對過去十年流行音樂的面貌都有貢獻，但這里值得注意的是他們的克制（馬丁幾乎擔任了專輯中所有人聲部分的制作）。斯威夫特的老伙伴內(nèi)森·查普曼(Nathan Chapman)制作了《這份愛》(This Love)，這是一首

悲傷的歌謠，假如作為《饑餓游戲2：星火燎原》(Hunger Games: Catching Fire)也挺合適，這也是專輯中唯一一首可能會被認為帶有鄉(xiāng)村色彩的歌曲。

The best country-defying songs on her last album, “Red” — especially “I Knew You Were Trouble,” another collaboration with Mr.Martin and Shellback — were also a move toward forward-sounding pop.Ms.Swift has many charms but stylistic envelope pushing has not always been among them.And yet those songs showed her to be more of a risk taker than she'd ever been, and savvy enough to know her fans would follow.她的上一張專輯《紅》(Red)也是向流行樂前進的一步，其中有幾首向鄉(xiāng)村樂表示挑戰(zhàn)的歌，特別是《我知道你很棘手》(I Knew You Were Trouble)，也是馬丁和謝爾巴克合作創(chuàng)作的。斯威夫特有很多種魅力，但并不總是擅長打破音樂類型的界限。然而《紅》中的歌曲表明她比以往更樂于冒險，也清楚地知道歌迷會跟隨她。

That vanguard attitude, though, isn't to be found on “1989,” which is largely filled with upbeat, tense songs on which the singer stomps out much of whatever was left of her youthful innocence.The Taylor Swift of this album is savage, wry, and pointed.The high mark is “Style,” which recalls something from the original “Miami Vice” soundtrack, all warm synths and damp vocals.“Midnight/You come and pick me up/No headlights,” she oozes at the beginning of the song.By the chorus, she's flirty, but back in the verses, she's skeptical and a little bedraggled.《1989》中卻沒有這種先驅(qū)者的態(tài)度，里面大都是歡快、緊張的歌曲，歌手大步走出了年輕時殘余的大部分天真無邪。這張專輯里的泰勒·斯威夫特是兇猛、嘲弄、尖銳的。專輯中的佳作是《風(fēng)格》(Style)，令人回憶起最早的《邁阿密風(fēng)云》(Miami Vice)的原聲帶，全都是溫暖的合成器與低沉的人聲“午夜/你來帶上我/沒有照明燈”，她在歌曲一開頭慢慢唱著。在副歌部分，她顯得輕浮，但回到主歌，她又變得多疑，還有一絲凌亂。

Ms.Swift has often sung in a talky manner, emphasizing intimacy over power and nuance, but on “1989” she uses her voice — processed more than ever — in different ways than before: the coy confidence of how she shifts gears leading up to the bridge in “Shake It Off,” slithering out the line, “But I keep cruising,” immediately changing the song from gum-snapping glee to powerful release.Or the way she sweetly drags out the long e in “beat” on “Welcome to New York”;or the bratty background chorus chants on “All You Had to Do Was Stay.” 斯威夫特經(jīng)常以一種談話式的方式唱歌，強調(diào)親密而非力量和細微區(qū)別。但在《1989》中，她用了和之前不同的聲音方式，比以往更加精心處理：在《甩掉它》里那種開車變速沖上大橋的靦腆自信在歌中蔓延著，“但我在繼續(xù)巡行”這句突然把這首歌從街頭混混的歡樂合唱變成了強有力的釋放。還有她在《紐約歡迎你》中用甜蜜的長音唱“beat”這個字，以及在《你只需要留下》(All You Had to Do Was Stay)里不肯服從的背景合唱。

Her most pronounced vocal tweak is on “Wildest Dreams,” a sweaty and dark tale of dangerous love.In the verses, Ms.Swift sings drowsily, as if seducing or just waking up: “I said ‘No one has to know what we do'/ His hands are in my hair/ His clothes are in my room.” Then, at the bridge, she skips up an octave, sputtering out bleats of ecstasy, before retreating back under the covers.《最瘋狂的夢》(Wildest Dreams)是一個性感黑暗的故事，唱的是危險的愛情，這首歌里她的聲音有最顯著的改變。在主歌里，她懶洋洋地唱著，仿佛在誘惑，要不就是剛睡醒：“我說，‘沒人知道我們在干什么'/他的手放在我的頭發(fā)里/她的衣服在我房間里。”然后，在過渡段，她的聲音升高了八度，迸發(fā)出狂喜的訴說，之后又退回到隱蔽之中。

On this album, Ms.Swift's songwriting isn't as microdetailed as it has been, instead approaching heartbreak with a wider lens, as on “This Love”: 在這張專輯里，斯威夫特自己寫的歌不像以前那樣充滿細節(jié)，而是以更廣闊的視角看待傷心，比如《這份愛》：

Tossing, turning, struggled through the night with someone new 輾轉(zhuǎn)反側(cè)，勉強與新人讀過長夜 And I could go on and on, on and on 我可以一再這樣，一再這樣做

Lantern, burning, flickered in my mind for only you 燈罩，燃燒，閃爍在我心里的只有你 But you were still gone, gone, gone 但你還是走了，走了，走了

And while there are certainly references to some of Ms.Swift's high-profile relationships, the album on the whole feels less diaristic than her previous work.這肯定是和斯威夫特與某位名人的戀情有關(guān)，但專輯的整體感覺不像她以前的專輯那樣，好像寫日記了。

But don't be distracted by for whom the belle trolls;she trolls with glee, and that's what matters.Take the clever “Blank Space,” a metanarrative about Ms.Swift's reputation as a dating disaster: 但是別分心去想這個美女唱的是誰；她唱得很歡樂，這才是重要的。聽聽這首聰明的《空白空間》(Blank Space)吧，這是關(guān)于斯威夫特“約會災(zāi)星”惡名的元敘事：

Saw you there and I thought 看見你在那兒我就想

Oh my God, look at that face 啊天哪，看這張臉

You look like my next mistake 你看上去就像我的下一個錯誤 Love's a game, want to plaaaaaay? 愛情就是游戲，想玩嗎？

This is Ms.Swift at her peak.It's funny and knowing, and serves to assert both her power and her primness.By contrast, the songs where she sounds the least jaded — “How You Get the Girl,” “Welcome to New York” — are among the least effective.這是巔峰的斯威夫特。它既有趣又世故，強調(diào)她的力量，也強調(diào)她的一本正經(jīng)。相比之下，那些聽上去最不倦怠的歌，比如《你怎樣得到那女孩》(How You Get the Girl)和《紐約歡迎你》是最不動人的幾首。

It's hard for Ms.Swift to still sell na?veté;she's too well-known and too good at her job.That's likely at least part of the reason that the bonus edition of this album includes three voice memos recorded by Ms.Swift on her telephone that showcase bits of songs in their early stages.They're there as gifts for obsessives, but also as boasts, flaunting her expertise and also her aw-shucks demeanor.“I Wish You Would” shows her singing without any vocal manipulation, and though the lyrics to “I Know Places” and “Blank Space” changed a bunch from this stage to the final

version, it's clear that the melodies were intact, and sturdy, from the beginning.斯威夫特很難再擺出天真無邪了，她太出名，太擅長自己的工作。至少可能部分是出于這個原因，專輯的附加歌曲部分收入了三首人聲小樣，是斯威夫特通過電話錄下來的，展示她在寫歌早期的片段。它們是送給迷戀者們的禮物，但也像是夸耀，炫耀自己的技能，以及她質(zhì)樸的態(tài)度?！段蚁Ｍ隳堋?I Wish You Would)展現(xiàn)出她怎樣不控制聲音地唱歌，盡管《我知道一些地方》(I Know Places)和《空白空間》(Blank Space)的歌詞最終版本比起這里的版本改動了很多，但顯然旋律從一開始就沒怎么改動，非常可靠。

There are a few songs in which production dominates: the two songs written and produced with Jack Antonoff(of fun and Bleachers).“Out of the Woods” and “I Wish You Would,” which burst with erupting drums, moody synths and sizzling guitars;and “Bad Blood,” which has booming drums reminiscent of the Billy Squier ones often sampled in hip-hop.還有一些歌是制作占了主導(dǎo)地位，比如杰克·安托諾夫（Jack Antonoff，“有趣”[Fun]樂隊和“漂白者”[Bleachers]樂隊）創(chuàng)作和制作的兩首歌：《樹林之外》(Out of the Woods)和《我希望你能》，它們爆發(fā)出激烈的鼓點、無常的合成器和嘶聲作響的吉他；《壞血》(Bad Blood)這首歌有轟鳴的鼓聲，令人想起比利·斯奎爾(Billy Squier)經(jīng)常被嘻哈樂采樣的那些樂段。

But these are outliers.Ms.Swift has always been melody first, and if she wanted to give herself over to a producer and sound of the moment, she could have gone several different, more obvious routes, or even stayed in country, which is as hip-hop inflected as pop is these days.(For the record, there are a few sort-of-modern phrases sprinkled through the lyrics — “this sick beat,” “ mad love”

and the chorus of “Shake It Off,” where she squeaks “the players gonna play, play, play, play, play/and the haters gonna hate, hate, hate, hate, hate” — though they are mostly there to underscore just how out of place Ms.Swift sounds singing them.)但這些都是外圍的東西，斯威夫特一向最注重旋律，如果她希望把自己交給制作人和當下流行的聲音，那么她可能會嘗試其他幾種不同的、更明顯的方式，甚至有可能留在鄉(xiāng)村樂里，如今鄉(xiāng)村樂和流行樂一樣，都已經(jīng)深受嘻哈樂影響了（在這張專輯里，歌詞中分布著幾個有點時尚的句子——‘惡心的節(jié)拍'、‘瘋狂的愛'以及《甩掉它》的副歌，她尖聲唱道“樂手要演奏，演奏，演奏，演奏/憎恨的人要去恨，恨，恨，恨，恨”——但是它們主要都是為了強調(diào)斯威夫特唱這些句子的時候有多么脫離時代）。

But by making pop with almost no contemporary references, Ms.Swift is aiming somewhere even higher, a mode of timelessness that few true pop stars — aside from, say, Adele, who has a vocal gift that demands such an approach — even bother aspiring to.Everyone else striving to sound like now will have to shift gears once the now sound changes.But not Ms.Swift, who's waging, and winning, a new war, one she'd never admit to fighting.斯威夫特做的是幾乎不涉及當代的流行樂，目標更為高遠，就連真正的流行巨星也很少有人會去渴望這種模式——或者阿黛爾(Adele)除外，她聲音的天賦就需要這樣的方式。其他人都在努力讓自己聽上去更有當下的感覺，當下流行的聲音變了，他們也得跟著變。但斯威夫特不是這樣，她要展開一場新的戰(zhàn)爭，她要贏，但她永遠不會承認自己在打這一仗。

第二篇：鄉(xiāng)村音樂女創(chuàng)作歌手：泰勒·斯威夫特

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鄉(xiāng)村音樂女創(chuàng)作歌手：泰勒·斯威夫特

#音樂#【鄉(xiāng)村音樂女創(chuàng)作歌手：#泰勒·斯威夫特#】。

2006年與獨立唱片公司Big Machine簽約，同年發(fā)行首張個人專輯《Taylor Swift》。曾獲得美國鄉(xiāng)村音樂協(xié)會獎最佳專輯獎、格萊美專輯獎等榮譽。斯威夫特的歌詞帶有高度的自傳性；她說過：“你聽我的專輯，就像讀我的日記一樣?！崩绺枨禙orever & Always》就是受她和 Joe Jonas的關(guān)系的啟發(fā)而寫的，而《Hey Stephen》就是寫一個為她公開演出的人。愛樂活文化娛樂音樂。004km.cn

泰勒·斯威夫特

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泰勒·斯威夫特出席活動

泰勒·斯威夫特寫真

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愛樂活——有態(tài)度、正能量的品質(zhì)生活社區(qū)。

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【更多精彩內(nèi)容盡在愛樂活】

文章來源：http://i.leho.com/post/49e03ee8d631e57dc9433835?from=wenku/?from=wenku

第三篇：影視美聯(lián)英語 泰勒斯威夫特的改變 音樂心路的轉(zhuǎn)彎[小編推薦]

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美聯(lián)英語提供：影視英語 泰勒斯威夫特的改變 音樂心路的轉(zhuǎn)彎

Clearly Taylor Swift aspires to be more than just another country star.And thus far, her reinvention of herself as a pop star is going quite well.為了超越“又一個鄉(xiāng)村歌星”的稱號，泰勒?斯威夫特的努力顯而易見。截至目前，她一直在不斷蛻變，越來越像一個流行歌手了。

First, let’s take a look at how the 24-year-old singer has been rebranding herself.In March, she moved from Nashville, Tennessee, the center of American country music, to New York City.Since then, intentionally or not, Swift’s social circle has been filled with more “cool people”.Her roommate? Supermodel Karlie Kloss.New best friend? Lena Dunham, creator and star of HBO’s hit series Girls, aka “the voice of a generation”.、先來看看24歲的她為重塑自我都做了些什么。今年三月，泰勒從美國田納西州的那什維爾市搬到了紐約市。而不知不覺間，她的社交圈中也出現(xiàn)了更多“酷酷的角色”： 超級名?？ɡ?克勞斯成為她的室友，而新閨蜜則是自編自導(dǎo)自演HBO電視劇《衰姐們》的莉娜?杜漢姆，該劇也被譽為反應(yīng)了“美國一代人的聲音”。

Of course, Swift’s new lifestyle is reflected in her music.In August, with the

release of Shake It Off, the first single from her forthcoming fifth album 1989, out on Oct 27, Swift announced she’d take a break from country music to produce her first pop album.泰勒的新生活也體現(xiàn)在音樂中。她將于10月27日發(fā)行的第五張新專《1989》，其中的單曲《Shake It Off》已于8月發(fā)布。斯威夫特稱她將暫時告別鄉(xiāng)村音樂，制作首張流行音樂專輯。

During a live video stream on Yahoo.com in August, Swift said that in the two years since she released Red, her last album, she grew and changed in a way that made it necessary for her to change her style of music.在雅虎8月流出的一段視頻中，斯威夫特說，自從兩年前發(fā)布上一張專輯《Red》以來，她已成長蛻變，音樂風(fēng)格也因此要有所變化。

Based on the first two released songs —the second single Out of the Woods was released two weeks ago — the country superstar is striding into pop with the same degree of effortlessness as her recent image change in magazines and on red carpets.《1989》中的第二首單曲《Out of the Woods》也于兩周前發(fā)布。從目前發(fā)布的兩首新單中已經(jīng)可以聽出，這位鄉(xiāng)村巨星正在大步邁向流行樂壇，就像她改變自己在雜志和紅毯上的形象一樣賣力。

Whenever Swift releases new music, the public seems to be obsessed with the question of whether the song makes reference to a past relationship.So here comes another big change on her new album: for the first time in years, there are no diss tracks dishing about Swift’s ex-boyfriends.In the cover story of Rolling

Stone magazine’s September issue, Swift reveals that a few of the songs on the album are about her relationships and love life, but they’re mostly wistful and nostalgic, not finger-pointy or score-settling.斯威夫特只要一出新歌，“是否又與過去戀情有關(guān)”的問題似乎就會隨之而來。如今，她做出了新的改變：這些年來斯威夫特第一次沒有在歌中吐槽她的前男友們。在《滾石》雜志9月刊封面文章中，斯威夫特透露，新專中確實有幾首歌與感情有關(guān)，但最多的只是抒發(fā)懷舊和惆悵之情，不會再冷嘲熱諷、翻舊賬了。

If what she said is true, I’d like to think of this as the biggest surprise to come out of her transition, compared to veering sharply from her earlier country sound.Although it’s natural for musicians to deal with their emotions by writing about them, Swift’s new sensible and balanced approach is a sign of her maturing into a real star.如果真如她所說，那么這將是她從鄉(xiāng)村風(fēng)突然轉(zhuǎn)變帶給我最大的驚喜。雖然對于歌手而言，將自己的感情寫進歌中再平常不過，但是斯威夫特對此更加理智、客觀的態(tài)度，也標志著她正在不斷成熟，成為真正的明星。

To that extent, Swift just keeps getting more interesting.就這一點而言，斯威夫特將會越來越有魅力。

第四篇：影視美聯(lián)英語 宮崎駿 真的要退休了嗎

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美聯(lián)英語提供：影視英語 宮崎駿 真的要退休了嗎? The nominations won’t be announced until Jan.15, but it’s safe to say that the greatest filmmaker associated with the 2015 Academy Awards has already received his Oscar, delivered a modest but revealing acceptance speech and flown home to Japan and, perhaps, retirement.2015年的奧斯卡獎提名要到1月15日才宣布，但是毫無疑問，最優(yōu)秀的電影人今年已經(jīng)得到了他的奧斯卡獎杯，他發(fā)表了謙遜而又真情流露的獲獎致辭后便乘飛機回到日本家中，或許從此就會退休。

Hayao Miyazaki was given an honorary Oscar on Nov.8 at the Governors Awards ceremony, one that he can put on the shelf next to the statuette he won in 2003 when his masterpiece, “Spirited Away,” was named best animated feature.He got off a sly one-liner about his wife and paid an impish tribute to the Hollywood veteran Maureen O’Hara, a fellow Governors Award honoree along with Harry Belafonte and the French screenwriter Jean-Claude Carrière.11月8日，宮崎駿在奧斯卡主席獎的典禮上獲得終身成就獎，這是他第二次獲得奧斯卡獎杯，第一次是在2003年，他的杰作《千與千尋的神隱》獲得了最佳動畫長片獎。他說了一句關(guān)于妻子的玩笑話，并且頑皮地向好萊塢資深演員瑪琳·奧哈拉(Maureen O’Hara)致意，她和哈里·貝拉方特(Harry Belafonte)及法國編劇讓-克勞德·卡瑞爾亦獲得了主席獎

榮譽。

Between those two humorous notes, he was serious — honest, elegiac, rueful — on the subjects of animation and his country’s history, which gave his brief remarks something in common with his films.“I think I’ve been lucky because I’ve been able to participate in the last era when we can make films with paper, pencils and film,” he said through a translator.“Another fact of luck is that my country has not been at war for the 50 years that I have been making films.Of course, we’ve profited from wars, but we’re very fortunate that we have not had to go to war ourselves.”

在這兩句幽默的話語之間，宮崎駿非常嚴肅，他誠懇、傷感而悲哀地談起動畫片與日本的歷史，這些話題令他簡短的致辭有了和他的影片同樣的氣質(zhì)?！拔矣X得自己非常幸運，因為我可以參與到使用紙張、鉛筆和膠片制作電影的最后時代。”他借助翻譯說道?！傲硪粋€幸運之處是，我的祖國在我拍電影的這50年時間里，沒有戰(zhàn)爭。當然，我們從戰(zhàn)爭中獲益，但我們非常幸運，可以不必親自參與戰(zhàn)爭。”

Many things contribute to the enchantment of the 11 animated feature films Mr.Miyazaki has made, beginning with “The Castle of Cagliostro” in 1979.Their sheer pictorial beauty, in the lush, painterly style he developed during years of apprenticeship as a hands-on animator for film and television and as a comic book, or manga, artist.Their swooping, beautifully constructed action sequences, breathless scenes of racing, leaping and, always, flight — in vintage airplanes, on broomsticks or mounted atop mysterious beasts.And, of course, the beasts, spirits，demons and familiars themselves, a seemingly inexhaustible menagerie of companions and impediments for his plucky young heroes(who are most often heroines).宮崎駿共制作了11部動畫長片，最早一部是1979年的《魯邦三世：卡里奧斯特羅城》，這些動畫的魅力是由很多因素共同造成的。它們有著純粹的繪畫之美，宮崎駿曾經(jīng)當過電視和電影動畫繪制的學(xué)徒，還做過漫畫家，他從那時便開始發(fā)展出自己豐富的、油畫般的風(fēng)格。他的影片中，一系列動作有著全面而美麗的結(jié)構(gòu)；賽跑和跳躍的情景令人透不過氣，更有乘著老式飛機、女巫掃帚與神秘野獸的打斗場面。當然，那些野獸、神靈、怪物和常見的形象，如同一個無窮盡的小動物園，為他筆下年輕勇敢的英雄們（大部分是女英雄們）充當伙伴和敵人。

None of these things are unique to Mr.Miyazaki, though he conjures them with an unmatched variety and generosity.What makes his films so memorable — from the great ones, like “Spirited Away,” which is a coming-of-age tale, and the ecological fables “Princess Mononoke” and “Nausicaa of the Valley of the Wind,” to less profound but still captivating works like “Kiki’s Delivery Service” and the mesmerizing “My Neighbor Totoro” — is something that’s harder to label.You know it when you feel it: the mastery of tone and emotion, embodied in every gesture, expression, movement and setting, that give the films a watchfulness, a thoughtfulness, an unaffected gravity.To watch a Miyazaki movie is to remember what it was like to be a smart and curious child.這些東西并不是宮崎駿所獨有的，但他以前所未有的多樣化與豐富性使用了這些元素。

他有非常宏大的作品：《千與千尋》是關(guān)于成長的故事、《幽靈公主》和《風(fēng)之谷的娜烏西卡》則是生態(tài)寓言；還有一些作品雖然沒這么深刻，但同樣引人入勝，比如《魔女宅急便》和迷人的《龍貓》，這些作品全都如此令人難忘，個中原因很難說清。只要你體會到了就能明白：對基調(diào)和情感的把握體現(xiàn)在每個手勢、表情、動作和場景里，令他的動畫充滿觀賞性和思想性，以及毫不做作的莊重。觀看宮崎駿的電影會讓你感覺自己重新成了聰明好奇的孩子。

Even at its high end, in the works of the Pixar studio or the director Henry Selick, the American children’s movie(a category that these days is pretty much congruent with the animated feature film)approaches its young viewers in a different and less rewarding way.There is always a sense of the filmmakers looking across a divide at their audience, trying with various degrees of grace or desperation to create an entertainment for them, to figure out what will keep those allegedly hyperdistracted children from losing interest.反觀皮克斯生產(chǎn)的電影或亨利·塞利克(Henry Selick)導(dǎo)演的作品，即便是在最好的情況之下，美國兒童電影（這個類別目前已經(jīng)基本上等同于動畫片）也是以一種完全不同、效果也不那么好的方式去接近年輕的觀眾。電影工作者們在審視觀眾時，總是帶著區(qū)別對待的觀念，刻意以不同程度的趣味或努力程度，努力去娛樂他們，努力想讓那些據(jù)說特別容易分心的小觀眾們對影片保持興趣。

Mr.Miyazaki cares deeply about that young audience, but you get the feeling that he doesn’t waste any time trying to guess what it wants.Like other great directors of films for and about children — Carroll Ballard(“The Black Stallion”)Steven Spielberg(“E.T.”), Alfonso Cuarón(“A Little Princess” and “Harry Potter

and the Prisoner of Azkaban”)— he inhabits the child’s point of view and directly communicates her joys, her trepidations and, perhaps most important, her endless curiosity.宮崎駿也非常重視年輕的觀眾，但你可以感覺到，他并不浪費時間去猜測他們想要什么。有許多導(dǎo)演為孩子們拍出了偉大影片，或拍出了關(guān)于孩子們的偉大影片，比如拍了《黑神駒》(The Black Stallion)的卡羅爾·巴拉德(Carroll BAllard)、拍了《ET》的史蒂文·斯皮爾伯格(Steven Spielberg)，以及拍了《小公主》(A Little Princess)和《哈利·波特與阿茲卡班的囚徒》(Harry Potter and the Prisoner of Azkaban)的阿方索·卡隆(Alfonso Cuarón)。宮崎駿和他們一樣，能以孩子的視角看待世界，能直接了解到這個孩子的喜悅與不安，或許最重要的是，能夠了解到她無窮無盡的好奇。

With his ability to pass so easily through the membrane between youth and adulthood, Mr.Miyazaki is also able to invest his fairy-tale scenarios with thematic weight.In his public life, he has spoken out on issues including pollution, the dangers of nuclear power, and Japan’s recent swing toward nationalism and militarism.His films, correspondingly, have sent messages — sometimes allegorical, but never unclear — in favor of environmentalism(“Nausicaa,” “Princess Mononoke,” “Ponyo”)and against war(“Howl’s Moving Castle,” “The Wind Rises”).他能輕易穿透橫亙在年輕人與成人之間的隔膜，因此便可以為筆下童話般的情節(jié)賦予沉重的主題。在公眾生活中，他曾為環(huán)境污染、核戰(zhàn)爭的危險，乃至日本近期的民族主義與軍事主義傾向而大聲疾呼。他的影片亦傳遞出同樣的信息，有時可能是寓言性的，但一直都是清晰的——諸如支持環(huán)保主義的《風(fēng)之谷》、《幽靈公主》和《懸崖上的金魚姬》，以

及反戰(zhàn)的《哈爾的移動城堡》和《起風(fēng)了》。

The messages are never what the films are about, though.Mr.Miyazaki does not promote outcomes;he explores possibilities.As he says in “The Kingdom of Dreams and Madness,” Mami Sunada’s indispensable 2013 documentary: “You don’t depict fate;you depict will.Even if fate exists.” Like all of us, his characters are born with infinite possibilities and shape their own lives as they close off those options one by one.“To choose one thing is to give up another,” he says.不過，這些信息從來不是他的影片的核心。宮崎駿從不宣傳成果，只是探索可能性。2013年，在砂田麻美重要的紀錄片《夢與狂想的王國》中，宮崎駿說：“你無法描繪命運，你只能描繪意志，就算真的有命運存在?！焙臀覀兇蠹乙粯?，他筆下的角色也是從一出生就擁有無窮無盡的可能性，之后他們摒棄了一個又一個的選擇，塑造自己人生的形狀，“選擇一樣?xùn)|西就意味著放棄另一樣?xùn)|西，”他說。

For her documentary, Ms.Sunada embedded herself with Mr.Miyazaki and Studio Ghibli, the animation studio he founded with his colleague and mentor Isao Takahata and the producer Toshio Suzuki.The film provides an intimate view of a man whose disarming, sardonic humor and modest manner don’t hide the tremendous demands he places on his young staff of animators and technicians or the way he feeds on their energy.砂田麻美在這部紀錄片中深入探索了宮崎駿的人生，以及他與同事兼導(dǎo)師高畑勛和制作人鈴木敏夫聯(lián)合創(chuàng)建的吉卜力工作室。影片以親切的視角拍出了他那令人放下戒備，同時又充滿諷刺的幽默感；他雖然態(tài)度溫和，卻對年輕的動畫師和技術(shù)員工們有著極高的要求，同時吸取著他們的能量。

Of course he places even greater demands on himself, and anyone tempted to sentimentalize him as a head-in-the-clouds fabulist will be set straight by Ms.Sunada’s depiction of his working method, disciplined to the point of regimentation, machine-like in the service of the magical.While workers one-third his age chat or stare into space, Mr.Miyazaki(who will turn 74 on Monday)strides past in his printer’s apron, headed to the next task.當然，他對自己的要求更高。如果有人帶著傷感之情，想把他描述為一個想入非非的寓言家形象，看了這部紀錄片肯定會打消這種看法。砂田麻美在片中記述了他的工作方式，強調(diào)紀律到了嚴格控制的地步，像機器一樣為動畫中的魔法王國服務(wù)。當年紀是他1/3的員工們閑聊或發(fā)呆的時候，宮崎駿（周一他就74歲了）穿著畫師的圍裙，大步走過去，開始做下一項工作。

Mr.Miyazaki has announced that “The Wind Rises,” released in 2013 in Japan, will be his last feature film, and in his Oscar speech and in “The Kingdom of Dreams and Madness” there are indications that he’s had enough.The darkness that is often present in his films but never overwhelms them, emerges when he talks to Ms.Sunada about “cursed dreams” and he tells her: “How do we know movies are even worthwhile? If you really think about it, is this not just some grand hobby? Maybe there was a time when you could make films that mattered, but now? Most of our world is rubbish.It’s difficult.”

2013年，《起風(fēng)了》在日本上映時，宮崎駿宣布這將是自己的最后一部動畫長片，在他的奧斯卡獎獲獎致辭和《夢與狂想的王國》中，有跡象表明他已經(jīng)心滿意足。他的影片中經(jīng)常出現(xiàn)黑暗，但黑暗從未壓倒一切，然而在他與砂田麻美談起“被詛咒的夢想”時，這種

黑暗再度浮現(xiàn)出來，“我們怎么知道這些電影是有價值的？如果你真的好好去思考，它也許只是一個宏大的嗜好呢？也許過去曾經(jīng)有那么一個時刻，你可以拍出真正的好電影，但是現(xiàn)在呢？我們的的世界充斥著垃圾。太困難了。”

Difficult, requiring punishing discipline and ruthless focus, but as he has continually shown, not impossible.When Ms.Sunada filmed the 2013 news conference at which Mr.Miyazaki announced his retirement, he confided to her that he hoped to work for another 10 years.Whether that means short films, comic books or a return to features, whatever he makes is sure to matter.誠然，拍出好電影很困難，需要嚴格的紀律與艱苦的專注，但正如他長久以來向世人所證明的，這并非不可能做到的事情。2013年，當砂田麻美拍攝宮崎駿宣布退休的新聞發(fā)布會時，他向她保證，自己希望繼續(xù)工作10年。不管是拍短片也好，創(chuàng)作漫畫書也好，抑或回歸動畫長片也好，他所創(chuàng)作的東西肯定是舉足輕重的。

第五篇：影視美聯(lián)英語 有種青春叫不愿將就

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美聯(lián)英語提供：影視英語 有種青春叫不愿將就

Cinderella-style love stories always find their fans, and the recent hit “You Are My Sunshine” gives the old narrative a modern spin.He Yichen, the hero of the movie, is a handsome, competent and devoted lawyer while Zhao Mosheng, his lover, is cast as a relatively ordinary young woman.灰姑娘式的愛情故事永遠都不缺捧場的觀眾。正在熱映的電影《何以笙簫默》就是一部現(xiàn)代版《灰姑娘》：男主角何以琛是一個顏值高、能力強、對愛情忠貞的律師，而他心愛的女主角趙默笙卻是一個相對平凡的姑娘。

The story begins when He Yichen(Huang Xiaoming)and Zhao Mosheng(Yang Mi)bump into each other at a grocery store after a seven-year-long separation caused by misunderstandings and familial disapproval.電影從這對戀人七年后的重逢開始講起。七年前，何以?。S曉明 飾）和趙默笙（楊冪 飾）因為誤會和家人的反對而分手；七年后，他們二人在超市偶遇（重啟了未了的緣分）。

For more than a decade, “My Sunshine”, the novel that the movie was adapted from, has dominated online romance novel rankings by depicting a woman's supposed dream relationship.電影改編自同名網(wǎng)絡(luò)小說。這部小說十幾年來一直高居網(wǎng)絡(luò)愛情小說各大榜單榜首，因為它描述了一段令無數(shù)女生向往的愛情。

The movie remains faithful to its source material by keeping the main plot structure and dialogue, including this line from He: “If the one ever appeared, anyone else would just be a compromise.But I don't want to compromise.”

電影版《何以笙簫默》基本忠實了原著，保留了書中的主線情節(jié)和部分對白。何以琛的經(jīng)典獨白：“如果世界上曾經(jīng)有那個人出現(xiàn)過，其他人都會變成將就。而我不愿意將就”自然也在其中。

Production company Le Vision said they intended to “satisfy audiences' desires for a story about pure romantic love that survives across time”.制作方樂視影業(yè)表示，他們希望能“滿足觀眾想看一段跨越時間、初心不變的純愛故事的愿望”。

The movie casts aside those “must-have” ingredients in young adult romance films like “Tiny Times”, “Fleet of Time” and “The Left Ear”– cheating, abortion and the third wheel.不同于《小時代》、《匆匆那年》、《左耳》等青春愛情片，《何以笙簫默》中并沒有青春電影“必備”的欺騙、墮胎、三角戀等元素。

A TV series based on the same novel starring Wallace Chung and Tang Yan topped audience ratings in January, proving the story still has the steam to sell.But when making the big-screen version, directors seem to have put a lot of effort into bringing out something new.早在今年一月，由鐘漢良和唐嫣領(lǐng)銜主演的電視劇版《何以笙簫默》就已經(jīng)掀起收視

高潮，也說明這個故事依舊有賣點。但是，電影版的導(dǎo)演們卻過于著力于拍出新意。

They attempt to pull viewers in by combining love and humor.And many Internet catchphrases have entered the movie's script, like “Don't forget to take your pills”.But with so many bits of humor peppered throughout the film, audiences may have a hard time readjusting for the more touching scenes that follow.他們給愛情故事中加入了很多幽默元素，希望可以吸引觀眾。許多網(wǎng)上的段子也出現(xiàn)在電影臺詞里，比如“別忘了吃藥”。但是影片中太多的幽默段子，也讓一些觀眾在接下來的感人場景中難以入戲。

Then, to cater to fujoshi culture, the movie introduces a new character, an assistant played by Huang Zitao(whose stage name is Tao), former member of South Korean band EXO.The guy cares about He so much that one might think he has feelings for him.為了迎合腐女文化，電影中還新添了一個角色——何律師的助理William，由韓國組合EXO前成員黃子韜（藝名：Tao）扮演。他對何律師無微不至的照顧可謂“基情滿滿”。

Efforts to experiment and do something different should always be appreciated.But maybe this film would have been better if it were just a love story, not a hodgepodge.努力實驗、敢于創(chuàng)新的態(tài)度本應(yīng)受到支持，但是比之現(xiàn)在的“大雜燴”，如果只是講述一個單純的愛情故事，這部電影也許會更好。