第一篇：影視美聯(lián)英語(yǔ) 上海電影節(jié) 開放市場(chǎng)浪潮中保護(hù)本土電影

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美聯(lián)英語(yǔ)提供：影視英語(yǔ) 上海電影節(jié) 開放市場(chǎng)浪潮中保護(hù)本土電影

SHANGHAI — The Shanghai International Film Festival may have played only a minor role in the blockbuster success of “Transformers: Age of Extinction” in China last year.The film, which earned what was then a record $319 million after debuting as the closing film at the festival, was already guaranteed a certain degree of success, given the history of its franchise in China.But its opening here raised the international profile of a festival that has established itself as one of the most prominent events of its kind in the region.上?！獙?duì)于《變形金剛4：絕跡重生》(Transformers: Age of Extinction)去年在中國(guó)取得的巨大成功，上海國(guó)際電影節(jié)也許只起到了很小的作用。作為閉幕影片在上海電影節(jié)首映后，《變形金剛4：絕跡重生》收獲了創(chuàng)紀(jì)錄的19.7億元人民幣的票房收入。鑒于這一系列電影在中國(guó)過去的表現(xiàn)，它本就基本注定會(huì)取得成功。不過，上海國(guó)際電影節(jié)在逐漸成為亞洲地區(qū)最重要的電影盛事之一，而《變形金剛4：絕跡重生》在此首映提升了電影節(jié)的國(guó)際影響力。

This year, organizers are opting for a lower-profile film to fill the symbolic slot.今年，主辦方打算用一部較為低調(diào)的影片來承擔(dān)這一象征性的榮譽(yù)。

The event, which kicked off on Saturday and runs through Sunday, opens and closes with two homegrown productions: The Chinese film “I Am Somebody,” a self-financed comedy directed by Derek Yee about the lives of the nameless extras working at the famous Hengdian World Studios near Shanghai, will make its world premiere as the opening film of the festival.The event will close with a Chinese-Russian co-production set during World War II called “Ballet in the Flames of War” and directed by Yachun Dong and Nikita Mikhalkov.The selection of the closing film follows an agreement signed last September between Russia and China intended to increase cooperation in the film domain.上海國(guó)際電影節(jié)于上周六拉開帷幕，將持續(xù)至本周日，開幕和閉幕影片均為本土出品：華語(yǔ)電影《我是路人甲》將作為開幕影片完成全球首映，閉幕影片則是中俄合拍片《戰(zhàn)火中的芭蕾》。《我是路人甲》由爾冬升(Derek Yee)執(zhí)導(dǎo)，是一部自籌資金拍攝的喜劇片，講述籍籍無名的臨時(shí)演員在離上海不遠(yuǎn)的著名影視城橫店的生活?！稇?zhàn)火中的芭蕾》則以二戰(zhàn)為背景，由董亞春和尼基塔·米哈爾科夫(Nikita Mikhalkov)共同執(zhí)導(dǎo)。閉幕影片的選擇源于去年9月中俄兩國(guó)簽署的一項(xiàng)意在加強(qiáng)雙方在電影方面的合作的協(xié)議。

The pivot back toward domestic productions is the latest in an ongoing struggle in China to strike a balance between opening its market to international players and protecting its relatively young film industry.Combined with Hollywood’s eagerness to get a piece of China’s massive film market, which just topped the United States market for the first time in February in terms of box office receipts, the dynamic between the two is often characterized as competitive and collaborative.中國(guó)一直力求在向國(guó)際電影開放本國(guó)市場(chǎng)和保護(hù)中國(guó)相對(duì)年輕的電影產(chǎn)業(yè)之間取得平衡，而此次電影節(jié)向本土電影的回歸是追求這種平衡的最新舉措。今年2月，中國(guó)市場(chǎng)的票房收入第一次超越了美國(guó)市場(chǎng)，好萊塢迫切希望能在中國(guó)巨大的電影市場(chǎng)中分一杯羹。這些因素加起來，使得中外電影之間通常既是競(jìng)爭(zhēng)關(guān)系，也是合作關(guān)系。

Officials like Hu Jinjun — the director of the Shanghai Administration of Culture, Radio, Film and TV, the government agency that organizes the festival — prefer to emphasize the latter.“We believe there is no ‘PK’ relationship between the Chinese film industry and Hollywood, instead a process of mutual understanding and exchange,” said Mr.Hu in a written response to questions, using a gaming term that means to engage in combat.“In China, we admire Hollywood’s maturity and advanced film technologies, while Hollywood understands China's vast film market and rich cultural heritage.”

主辦上海國(guó)際電影節(jié)的是政府機(jī)關(guān)上海市文化廣播影視管理局。局長(zhǎng)胡勁軍等官員更喜歡強(qiáng)調(diào)雙方的合作。“中國(guó)電影和好萊塢之間我認(rèn)為并不存在‘PK’的關(guān)系，而是一個(gè)大家相互了解、認(rèn)識(shí)的過程，”胡局長(zhǎng)書面答復(fù)采訪提問時(shí)表示，其中用到了一個(gè)意為交鋒的游戲術(shù)語(yǔ)?！爸袊?guó)電影了解好萊塢的技術(shù)、成熟的工業(yè)體系，好萊塢了解中國(guó)龐大的電影市場(chǎng)和文化底蘊(yùn)?！?/p>

Now in its 18th year, the Shanghai festival attracts stars and top industry players from the region and abroad.Jackie Chan, Fan Bingbing and Mike Tyson were among the celebrities walking the red carpet at the opening ceremony.上海電影節(jié)如今走到了第18個(gè)年頭，吸引了亞洲內(nèi)外的明星和業(yè)內(nèi)頂級(jí)人士。開幕式上走紅毯的明星包括了成龍、范冰冰和邁克·泰森(Mike Tyson)。

The events this year include 1,200 screenings of more than 300 films at 45 locations around Shanghai, China’s cosmopolitan capital.今年的電影節(jié)將在中國(guó)的時(shí)尚之都上海的45處地點(diǎn)展映300余部影片，場(chǎng)次達(dá)1200場(chǎng)。

“Over the years the festival has really upped its game and established itself as a leading film festival in Asia,” said David U.Lee, the chief executive of Leeding Media, a producer and distributor of films in Los Angeles and Beijing and has been attending since 2005.“上海電影節(jié)的確在逐年發(fā)展，把自己打造成亞洲地區(qū)的一個(gè)主要電影節(jié)，”李鼎傳媒(Leeding Media)首席執(zhí)行官李威達(dá)(David U.Lee)說。他從事電影制作和發(fā)行工作，在洛杉磯和北京兩地經(jīng)營(yíng)，自2005年起一直前來上海參加電影節(jié)。

A diverse slate of 14 films has been selected to compete for the Golden Goblet Award, the festival’s highest prize, out of a record 2,096 films from 108 countries submitted for various competitions.In past years, the festival has had difficulty attracting top-quality films.Because it is in the highest category of 15 festivals accredited by the International Federation of Film Producers Association, it cannot have films in its main competition that have been in the main competition of another top-category festival, including the big three events at Venice, Cannes and Berlin.有14部風(fēng)格各異的影片入圍今年的參賽片名單，將角逐電影節(jié)的最高殊榮金爵獎(jiǎng)。此次有來自108個(gè)國(guó)家的2096部電影提交給主辦方，希望參加不同獎(jiǎng)項(xiàng)的角逐，創(chuàng)下了紀(jì)錄。過去，上海電影節(jié)一直面臨無法吸引到高質(zhì)量影片的問題。這是因?yàn)樯虾ｋ娪肮?jié)是國(guó)際

電影制片人協(xié)會(huì)(International Federation of Film Producers Association)認(rèn)可的15個(gè)國(guó)際A類電影節(jié)之一，所以入圍其主競(jìng)賽單元的影片不能在過去入圍其他頂級(jí)電影節(jié)的主競(jìng)賽單元，其中包括威尼斯、戛納和柏林三大電影節(jié)。

Industry veterans say the competition appears to be improving.Included among the finalists this year are Hollywood titles like Antoine Fuqua’s 2015 film “Southpaw” starring Jake Gyllenhaal as the fictional boxer Billy Hope, and David Barnz’s 2014 indie drama “Cake,” starring Jennifer Aniston as a grieving woman suffering from chronic pain.電影行業(yè)的資深人士表示，上海電影節(jié)的競(jìng)賽質(zhì)量看來在提高。今年的最終入圍作品包括了來自好萊塢的多部影片，比如安東尼·?？?Antoine Fuqua)在今年推出的《鐵拳》(Southpaw)和丹尼爾·巴爾茲(Daniel Barnz)于2014年出品的獨(dú)立制作《蛋糕》。前者由杰克·吉倫哈爾飾演(Jake Gyllenhaal)虛構(gòu)拳擊手比利·霍普(Billy Hope)，后者則由詹妮弗·安妮斯頓(Jennifer Aniston)主演一名受慢性疼痛折磨的悲傷女子。

Prominent directors featured in the competition include Mr.Mikhalkov with his 2014 film “Sunstroke” set in Crimea during the Red Terror;the French director Pierre Jolivet with the 2015 French-Belgian thriller “The Night Watchman”;and Kiyoshi Kurosawa, who won the prize for best director at Cannes this year in the Un Certain Regard section(outside the main competition)with his 2015 romantic drama “Journey to the Shore,” which is now in the main competition at the Shanghai festival.參與角逐的著名導(dǎo)演包括米哈爾科夫、法國(guó)導(dǎo)演皮埃爾·祖利維(Pierre Jolivet)和黑澤清(Kiyoshi Kurosawa)。米哈爾科夫2014年執(zhí)導(dǎo)的《中暑》(Sunstroke)講述了紅色恐怖

時(shí)期發(fā)生在克里米亞的故事。祖利維帶來的是今年推出的法國(guó)和比利時(shí)合拍的驚悚片《守夜》(The Night Watchman)。憑借著今年的愛情電影《岸邊之旅》(Journey to the Shore)，黑澤清贏得了今年戛納電影節(jié)“一種注目”單元(Un Certain Regard)（主競(jìng)賽單元之外）的最佳導(dǎo)演獎(jiǎng)。該片入圍了本屆上海電影節(jié)的主競(jìng)賽單元。

Other international titles include “Carte Blanche” directed by Jacek Lusinski of Poland;“The Duchess of Warsaw” by Joseph Morder of France;“Jameh Daran” by Hamid Ghotbe of Iran;and the Finnish-Lithuanian film “The Midwife” by Antti Jokinen.入圍的國(guó)際電影還包括波蘭導(dǎo)演亞采克·盧森斯基(Jacek Lusinski)執(zhí)導(dǎo)的《女友的秘密》(Carte Blanche)；法國(guó)導(dǎo)演約瑟夫·莫德(Joseph Morder)的作品《華沙女公爵》(The Duchess of Warsaw)；伊朗導(dǎo)演哈米德·吉奧特(Hamid Ghotbe)的作品《意外的真相》(Jameh Daran)；以及由安提·喬金恩(Antti Jokinen)執(zhí)導(dǎo)的芬蘭和立陶宛的合拍片《助產(chǎn)士》(The Midwife)。

There are also five Asian films in the main competition.From Korea, the contenders are “Salut d’Amour,” about a middle-age man who receives an unexpected romantic proposal, by Kang Je-kyu, and “The Shameness,” a love story between a policeman and a criminal suspect, by Seung-ook Oh.From China, the competition includes “The Dead End” by Cao Baoping about three brothers who raise a young girl together and “Love in the 1980s” by Huo Jianqi about a village romance.Rounding out the 14 is the Taiwanese-China film “Where the Wind Settles,” directed by the Taiwanese director Wang Tung, about three young Chinese soldiers who escape to Taiwan at the end of the Chinese Civil War.還有五部亞洲影片進(jìn)入了主競(jìng)賽單元。兩部來自韓國(guó)，其中姜帝圭(Kang Je-kyu)執(zhí)導(dǎo)的《長(zhǎng)壽商會(huì)》(Salut d’Amour)講述的是一名中年男子受到意想不到的感情追求的故事，吳勝旭(Seung-ook Oh)導(dǎo)演的《無賴漢》(Shameness)則描繪了警察與犯罪嫌疑人之間的愛情。入圍的中國(guó)大陸電影包括曹保平的《烈日灼心》和霍建起的《1980年代的愛情》。前者講述了三個(gè)兄弟共同撫養(yǎng)一個(gè)女孩的故事，后者則以鄉(xiāng)村愛情為主題。還有一部是臺(tái)灣導(dǎo)演王童的作品《對(duì)風(fēng)說愛你》，其中講述了在中國(guó)內(nèi)戰(zhàn)末期逃至臺(tái)灣的三名年輕士兵的經(jīng)歷。

Andrey Zvyagintsev, the Russian director who with Oleg Negin won the award for best screenplay in Cannes last year for the 2014 film “Leviathan,” will head the jury for the Golden Goblet Award.Other members include the Chinese director Cai Shangjun, the Chinese actress Hao Lei, the Hong Kong filmmaker Shi Nansun, the Korean screenwriter Kim Hee-jae, the French director Philippe Muyl and Ron Yerxa, the American producer of films like “Little Miss Sunshine.”

去年與奧列格·涅金(Oleg Negin)一起憑借《利維坦》(Leviathan)獲得戛納電影節(jié)最佳編劇獎(jiǎng)的俄羅斯導(dǎo)演安德烈·薩金塞夫(Andrey Zvyagintsev)將擔(dān)任金爵獎(jiǎng)評(píng)委會(huì)主席。評(píng)委會(huì)成員還包括中國(guó)導(dǎo)演蔡尚君、中國(guó)演員郝蕾、香港制片人施南生、韓國(guó)編劇金希才(Kim Hee-jae)、法國(guó)導(dǎo)演費(fèi)利普·彌勒(Philippe Muyl)，以及出品了《陽(yáng)光小美女》(Little Miss Sunshine)等片的美國(guó)制片人羅恩·耶克薩(Ron Yerxa)。

Outside of the main competition, cinephiles will have the rare opportunity to see films that weren’t given a domestic release or aren’t typically shown on the big screen in China.The festival will feature a Jean-Luc Godard retrospective as well as a first-ever screening in China of the six-film “Star Wars” saga.Some Hollywood

films that weren’t included in this year’s import quota of 34 foreign films also will receive screenings, like “Boyhood,” “The Theory of Everything” and “Clouds of Sils Maria.”

除了主競(jìng)賽單元，影迷們將獲得難得的機(jī)會(huì)，一睹沒有在國(guó)內(nèi)公映或通常不會(huì)登上中國(guó)大屏幕的一些影片。本屆電影節(jié)將舉辦讓-呂克·戈達(dá)爾(Jean-Luc Godard)的回顧展，并在中國(guó)首次展映《星球大戰(zhàn)》(Star Wars)系列的全部六部影片。中國(guó)今年引進(jìn)外國(guó)影片的定額為34部，而一些沒能引進(jìn)的好萊塢片也將在本次電影節(jié)上獲得放映，比如《少年時(shí)代》(Boyhood)、《萬物理論》(The Theory of Everything)和《錫爾斯瑪利亞》(Clouds of Sils Maria)。

Also this year, China and other countries are marking the 70th anniversary of the end of World War II, or as the festival calls it, the “victory in the Chinese People’s War of Resistance Against Japanese Aggression and the victory in the World Anti-Fascist War.”

中國(guó)等國(guó)家今年還會(huì)紀(jì)念二戰(zhàn)結(jié)束70周年，或者用電影節(jié)的官方說辭，是紀(jì)念“中國(guó)人民抗日戰(zhàn)爭(zhēng)暨世界反法西斯戰(zhàn)爭(zhēng)勝利”70周年。

The festival will screen 11 films to commemorate the anniversary, including the 1957 classic about the construction of the Burma Railway, “The Bridge on the River Kwai,” and the 1979 Academy Award-winning German Film “The Tin Drum.”

在這一主題下，電影節(jié)將放映11部影片，其中包括1957年上映的講述修建泰緬鐵路故事的經(jīng)典電影《桂河大橋》(The Bridge on the River Kwai)，以及1979年的奧斯卡獲獎(jiǎng)影片——德國(guó)電影《鐵皮鼓》(The Tin Drum)。

China’s largest Internet companies, like Baidu, Alibaba and Tencent, have been

making major inroads into the entertainment industry, and the festival’s forum series this year will discuss the impact of this trend.百度、阿里巴巴和騰訊等中國(guó)網(wǎng)絡(luò)業(yè)巨頭均在大舉進(jìn)軍娛樂業(yè)，而今年電影節(jié)的系列論壇將會(huì)討論這一趨勢(shì)的影響。

Several of the talks will also explore how Internet literature is becoming a source of inspiration for films, as well as the proliferation of Internet films, or films created specifically for the online market.其中一些討論還將探討網(wǎng)絡(luò)文學(xué)如何成為電影靈感源泉的話題，以及網(wǎng)絡(luò)電影或?yàn)榫W(wǎng)絡(luò)市場(chǎng)特別創(chuàng)作的影片大幅增加的現(xiàn)象。

“As the online and movie realms become increasingly integrated, we want to create an Internet-oriented film festival,” Mr.Hu Jinjun said.胡勁軍表示，“在互聯(lián)網(wǎng)和電影深度融合的大背景下，我們就要打造具有互聯(lián)網(wǎng)思維的電影節(jié)?！?/p>

The festival has already begun moving in that direction.In March, it announced a three-year strategic partnership with the e-commerce behemoth Alibaba.The festival will integrate services like Yulebao, Alibaba’s crowdfunding-like service, and Taobao Dianying, which will serve as its official ticketing platform.Other corporate partners include the Internet giants Tencent and Youku.上海國(guó)際電影節(jié)已經(jīng)開始朝這個(gè)方向發(fā)展。今年3月，主辦方宣布與電商巨頭阿里巴巴簽訂三年協(xié)議，達(dá)成戰(zhàn)略伙伴關(guān)系。電影節(jié)將融合娛樂寶——阿里巴巴的眾籌服務(wù)——和淘寶電影等服務(wù)，而且后者將成為電影節(jié)的官方售票平臺(tái)。其他合作公司還包括網(wǎng)絡(luò)巨頭騰訊和優(yōu)酷。

One issue that continues to inspire debate at the festival and beyond is the foreign import film quota, one of the strongest policies that China has in place to shield the film industry.The quota, which allows 34 films to be imported on a revenue-sharing basis, is expected to be raised in 2017 or 2018, possibly to 44 films, according to The Hollywood Reporter.在電影節(jié)內(nèi)外持續(xù)引發(fā)熱議的一個(gè)話題是進(jìn)口影片的配額。這是中國(guó)采取的保護(hù)電影產(chǎn)業(yè)的最強(qiáng)有力的政策之一。在票房收入分成的前提下，中國(guó)目前允許引進(jìn)34部外國(guó)影片?！逗萌R塢報(bào)道》(The Hollywood Reporter)透露，中國(guó)可能會(huì)在2017年或2018年將這一配額增至44部。

While Hollywood has long pushed for the complete opening of the Chinese film market, China’s protectionist mentality is understandable, said Mr.Lee, the American-based producer, who has consulted on many United States-China co-production arrangements.在美國(guó)工作的制片人李威達(dá)表示，雖然好萊塢一直以來在敦促中國(guó)完全開放電影市場(chǎng)，但中國(guó)的這種保護(hù)主義心態(tài)是可以理解的。他擔(dān)任過很多中美合拍片的顧問。

“You want an industry to have the chance to find its own voice before you open the floodgates,” he said.“你會(huì)想讓這個(gè)產(chǎn)業(yè)在打開閘門前，有機(jī)會(huì)找到自己的聲音，”李威達(dá)。

第二篇：影視美聯(lián)英語(yǔ) 宮崎駿 真的要退休了嗎

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美聯(lián)英語(yǔ)提供：影視英語(yǔ) 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(jiǎng)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(jiǎng)杯，他發(fā)表了謙遜而又真情流露的獲獎(jiǎng)致辭后便乘飛機(jī)回到日本家中，或許從此就會(huì)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(jiǎng)的典禮上獲得終身成就獎(jiǎng)，這是他第二次獲得奧斯卡獎(jiǎng)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(dòng)畫長(zhǎng)片獎(jiǎng)。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(guó)編劇讓-克勞德·卡瑞爾亦獲得了主席獎(jiǎng)

榮譽(yù)。

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(yǔ)之間，宮崎駿非常嚴(yán)肅，他誠(chéng)懇、傷感而悲哀地談起動(dòng)畫片與日本的歷史，這些話題令他簡(jiǎn)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(yùn)，因?yàn)槲铱梢詤⑴c到使用紙張、鉛筆和膠片制作電影的最后時(shí)代?！彼柚g說道?！傲硪粋€(gè)幸運(yùn)之處是，我的祖國(guó)在我拍電影的這50年時(shí)間里，沒有戰(zhàn)爭(zhēng)。當(dāng)然，我們從戰(zhàn)爭(zhēng)中獲益，但我們非常幸運(yùn)，可以不必親自參與戰(zhàn)爭(zhēng)?！?/p>

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(dòng)畫長(zhǎng)片，最早一部是1979年的《魯邦三世：卡里奧斯特羅城》，這些動(dòng)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(dāng)過電視和電影動(dòng)畫繪制的學(xué)徒，還做過漫畫家，他從那時(shí)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(dòng)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(jī)、女巫掃帚與神秘野獸的打斗場(chǎng)面。當(dāng)然，那些野獸、神靈、怪物和常見的形象，如同一個(gè)無窮盡的小動(dòng)物園，為他筆下年輕勇敢的英雄們（大部分是女英雄們）充當(dāng)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(dú)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(zhǎng)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(gè)中原因很難說清。只要你體會(huì)到了就能明白：對(duì)基調(diào)和情感的把握體現(xiàn)在每個(gè)手勢(shì)、表情、動(dòng)作和場(chǎng)景里，令他的動(dòng)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(huì)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(guó)兒童電影（這個(gè)類別目前已經(jīng)基本上等同于動(dòng)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?cè)趯徱曈^眾時(shí)，總是帶著區(qū)別對(duì)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(duì)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(fèi)時(shí)間去猜測(cè)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(gè)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?cè)谀贻p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(zhēng)的危險(xiǎn)，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(shí)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(dòng)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(jì)錄片《夢(mèng)與狂想的王國(guó)》中，宮崎駿說：“你無法描繪命運(yùn)，你只能描繪意志，就算真的有命運(yùn)存在。”和我們大家一樣，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(gè)又一個(gè)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(jì)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(shí)又充滿諷刺的幽默感；他雖然態(tài)度溫和，卻對(duì)年輕的動(dòng)畫師和技術(shù)員工們有著極高的要求，同時(shí)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(dāng)然，他對(duì)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(gè)想入非非的寓言家形象，看了這部紀(jì)錄片肯定會(huì)打消這種看法。砂田麻美在片中記述了他的工作方式，強(qiáng)調(diào)紀(jì)律到了嚴(yán)格控制的地步，像機(jī)器一樣為動(dòng)畫中的魔法王國(guó)服務(wù)。當(dāng)年紀(jì)是他1/3的員工們閑聊或發(fā)呆的時(shí)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(xiàng)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(shí)，宮崎駿宣布這將是自己的最后一部動(dòng)畫長(zhǎng)片，在他的奧斯卡獎(jiǎng)獲獎(jiǎng)致辭和《夢(mèng)與狂想的王國(guó)》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(mèng)想”時(shí)，這種

黑暗再度浮現(xiàn)出來，“我們?cè)趺粗肋@些電影是有價(jià)值的？如果你真的好好去思考，它也許只是一個(gè)宏大的嗜好呢？也許過去曾經(jīng)有那么一個(gè)時(shí)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?！?/p>

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(chéng)然，拍出好電影很困難，需要嚴(yán)格的紀(jì)律與艱苦的專注，但正如他長(zhǎng)久以來向世人所證明的，這并非不可能做到的事情。2013年，當(dāng)砂田麻美拍攝宮崎駿宣布退休的新聞發(fā)布會(huì)時(shí)，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(dòng)畫長(zhǎng)片也好，他所創(chuàng)作的東西肯定是舉足輕重的。

第三篇：影視美聯(lián)英語(yǔ) 有種青春叫不愿將就

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美聯(lián)英語(yǔ)提供：影視英語(yǔ) 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(yuǎn)都不缺捧場(chǎng)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(gè)顏值高、能力強(qiáng)、對(duì)愛情忠貞的律師，而他心愛的女主角趙默笙卻是一個(gè)相對(duì)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(duì)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?yàn)檎`會(huì)和家人的反對(duì)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?yàn)樗枋隽艘欢瘟顭o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(shí)了原著，保留了書中的主線情節(jié)和部分對(duì)白。何以琛的經(jīng)典獨(dú)白：“如果世界上曾經(jīng)有那個(gè)人出現(xiàn)過，其他人都會(huì)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(shí)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(shí)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(gè)故事依舊有賣點(diǎn)。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(tái)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(chǎng)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(gè)角色——何律師的助理William，由韓國(guó)組合EXO前成員黃子韜（藝名：Tao）扮演。他對(duì)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(shí)驗(yàn)、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(gè)單純的愛情故事，這部電影也許會(huì)更好。

第四篇：影視美聯(lián)英語(yǔ) 泰勒斯威夫特向鄉(xiāng)村音樂告別

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美聯(lián)英語(yǔ)提供：影視英語(yǔ) 泰勒斯威夫特向鄉(xiāng)村音樂告別

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(dòng)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(gè)好客的東道主。她在這個(gè)領(lǐng)域幾乎沒有直接競(jìng)爭(zhēng)對(duì)手，而且這個(gè)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(qiáng)。

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(gè)語(yǔ)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(gè)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(yuǎn)都是某種失敗者，不管唱片拿多少白金銷量、獎(jiǎng)項(xiàng)，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(huì)拋棄鄉(xiāng)村樂。它是一個(gè)大盒子，雖然通風(fēng)良好，但畢竟是個(gè)盒子。《1989》（大機(jī)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(duì)抗的姿態(tài)。但這張給人感覺很溫和的專輯有一個(gè)毫無疑問的敵人：那就是主流流行樂，《1989》與它格格不入。現(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(dāng)前音樂的生態(tài)系統(tǒng)里，凱蒂·佩里(Katy Perry)或許是對(duì)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(xiàn)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M(jìn)ike Will Made-It制作，也沒有德雷克(Drake)或皮特布爾(Pitbull)客串。她對(duì)流行音樂的概念回溯到了20世紀(jì)80年代中期，那時(shí)候流行樂還沒雜交得這樣厲害。這個(gè)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(huì)被指責(zé)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(zhēng)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(gè)動(dòng)作，后來她身周換成了普通人，他們不自覺地?fù)u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(gè)故事，在其中她仍然是個(gè)局外人。在一群專家中間，她是個(gè)笨拙的人，是一群高高在上的人當(dāng)中可親的一個(gè)，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(gè)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(diǎn)，再加上對(duì)她個(gè)人的興趣，這令她和所有全球明星一樣，無時(shí)無刻不處在小報(bào)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(jī)會(huì)，讓她可以再度被視為一個(gè)天真無邪的人。在納什維爾，她學(xué)會(huì)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(duì)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(yuǎn)）。

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(zhǎng)久以來始終視自己為紐約所代表的盛大名利場(chǎng)中的異類?！坝幸惶煳視?huì)住進(jìn)一座巨大的老城市，”她在《賤》(Mean)這首歌里嘲笑一個(gè)評(píng)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(gè)嶄新的舞臺(tái)，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(dāng)今的任何流行音樂運(yùn)動(dòng)。她讓自己置身事外，而且，毫無疑問地是置于各種運(yùn)動(dòng)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(gè)流行時(shí)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(gè)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(duì)過去十年流行音樂的面貌都有貢獻(xiàn)，但這里值得注意的是他們的克制（馬丁幾乎擔(dān)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(huì)被認(rèn)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(jìn)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(zhǎng)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(xiǎn)，也清楚地知道歌迷會(huì)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(shí)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(qiáng)調(diào)親密而非力量和細(xì)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?zèng)_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(qiáng)有力的釋放。還有她在《紐約歡迎你》中用甜蜜的長(zhǎng)音唱“beat”這個(gè)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(mèng)》(Wildest Dreams)是一個(gè)性感黑暗的故事，唱的是危險(xiǎn)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?cè)诟墒裁?/他的手放在我的頭發(fā)里/她的衣服在我房間里?！比缓?，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(xì)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(qiáng)與新人讀過長(zhǎng)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(gè)美女唱的是誰(shuí)；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(huì)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(gè)錯(cuò)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(qiáng)調(diào)她的力量，也強(qiáng)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(dòng)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(zhǎng)自己的工作。至少可能部分是出于這個(gè)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(dòng)了很多，但顯然旋律從一開始就沒怎么改動(dòng)，非?？煽俊?/p>

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(duì)和“漂白者”[Bleachers]樂隊(duì)）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(diǎn)、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(dāng)下流行的聲音，那么她可能會(huì)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(gè)有點(diǎn)時(shí)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(qiáng)調(diào)斯威夫特唱這些句子的時(shí)候有多么脫離時(shí)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(dāng)代的流行樂，目標(biāo)更為高遠(yuǎn)，就連真正的流行巨星也很少有人會(huì)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(dāng)下的感覺，當(dāng)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(chǎng)新的戰(zhàn)爭(zhēng)，她要贏，但她永遠(yuǎn)不會(huì)承認(rèn)自己在打這一仗。

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廣電總局:沒有犯罪的中國(guó)犯罪片

HONG KONG — A FEW years back I got a callfrom a film director based in China who had read one of my detective novels.“Can you help me write a screenplay for a crime story?” he asked.“The tricky thing is that it's set in Beijing, so no crime can be involved.”

香港——幾年前我接到一位在中國(guó)發(fā)展的導(dǎo)演的電話，他讀了我的一部偵探小說，問我：“你能給我寫一個(gè)犯罪故事的劇本嗎？”然后他又說道，“麻煩的是因?yàn)橐O(shè)定在北京，所以不能出現(xiàn)犯罪?！?/p>

廣電總局：沒有犯罪的中國(guó)犯罪片.jpgWelcome to the world of screenwriting for China, where crime stories are crime free, ghost tales have no ghosts and crooked politicians can't be crooked.China has a large film industry and thesecond-biggest box office in the world, but few people outside the country have ever watched a Chinese movie released there: Once you've seen one acrobatichero single-handedly dispatch an enemy platoon, you've seen a lifetime's worth.For that, you can blame the rules of film censorship in China, and a Chinese government extremely sensitive about how the nation is portrayed.這就是中國(guó)的劇本創(chuàng)作了。犯罪片不能有犯罪，鬼故事不能真有鬼，奸詐政客也不能真的奸佞邪惡。中國(guó)已經(jīng)建立了龐大的電影工業(yè)，還是全球第二大市場(chǎng)，但是中國(guó)以外的觀眾很少會(huì)看到在海外播放的中國(guó)電影——如果你在影院里曾看到某個(gè)武打明星單手逼退敵人，那簡(jiǎn)直是一生難得的記憶了。究其原因，可以歸結(jié)到中國(guó)的電影審查制度，以及中國(guó)政府對(duì)于電影里中國(guó)形象的極度敏感。

No one can start making a film in China without submitting the plot to the State General Administration of Press, Publication,Radio, Film and Television(SGAPPRFT), an agency set up to administer government-owned media but best known(and feared)as a committee of censors.If any organization from outside mainland China is involved, including Hong Kong partners, a full screenplay must be submitted for review.Once approved,it can't be modified, meaning actors and directors must resist any urge to improvise during filming.At irregular intervals the agency providesa list of unmentionables.Sex scenes or depictions of “excessive drinking,smoking and other bad habits” are a no-go.“Propagating passive or negative outlook on life, world view and value system“ is banned;so is ”stirring upambivalence and conflicts between different religions or sects, and betweenbelievers and nonbelievers, causing disharmony in the community.“ 如果你想在中國(guó)拍片，就必須先把情節(jié)呈交給國(guó)家新聞出版廣播電影電視總局(SGAPPRFT)。廣電總局乍一看好像是個(gè)監(jiān)管國(guó)有媒體的機(jī)構(gòu)，其實(shí)一般被當(dāng)做“審查委員會(huì)”看待，是個(gè)讓人聞之色變的存在。如果中國(guó)大陸以外的組織也參與其中，包括香港的合作伙伴，那么整個(gè)劇本都要呈上供大人御覽。如果被批準(zhǔn)了，這劇本也就不能再修改了，因而演員和導(dǎo)演不管再怎么想，也不能在拍戲過程中即興發(fā)揮。廣電總局曾發(fā)布一份“不能說”

的名單。性愛場(chǎng)景，以及對(duì)“酗酒、吸煙和其他壞習(xí)慣”的描繪不宜出現(xiàn)?！皞鞑ケ粍?dòng)或消極的人生觀、世界觀和價(jià)值觀”是被禁的。至于“挑起宗教或教派，信徒和非信徒之間的沖突和矛盾，破壞社會(huì)和諧”的，自然也是不許了。

The vetting committee might reject a storyline for being ”unscientific,“ because, say, it features time travel.It also bans”historical untruths,“ which, this being China, often means historical truths.The ethnicity of villains is a major concern as well.”If it's about international crime, the bad guy must not be Chinese,“ explained a Hong Kong screenwriter with 25 years' experience.(Heasked not to be identified for fear of being blacklisted.)Further more, thecrime must not be initiated within China's borders, as if the land itself were somehow pure.All characters in the uniformed services must be good guys.Government employees may never be corrupt.There are no prostitutes in China.Getting a SGAPPRFT permit is just the firsthurdle.If the hero is a monk or the setting is a temple or a church, the script will also require a permit from the State Administration for Religious Affairs.If it's a spy movie, national security agents will have to vet it.Forcop shows, you need approval from the police's so-called art department.Ghost stories are farcically problematic.In the spring of 2006, an online novel by Zhang Muye called ”Gui Chui Deng“(literally ”Ghost Blows Out the Light“)was enormously popular.It was read by millions.There was much excited discussion about a print version and aninternational movie adaptation.Then the project stalled.The government-licensed version of the book published in print was purged of any reference to thesupernatural, and with that, the film project vanished, too.審查委員會(huì)們會(huì)因?yàn)橛捌袝r(shí)空穿越成分，判定它“不科學(xué)”而把劇本打回去；他們也不允許“不符合歷史”的故事，因?yàn)榧热皇窃谥袊?guó)，就應(yīng)該都是史實(shí)。反派的種族也是個(gè)大問題?！叭绻婕暗娇鐕?guó)犯罪，反派一定不能是中國(guó)人，”一位有著25年從業(yè)經(jīng)驗(yàn)的香港編劇說道（他請(qǐng)求筆者不要寫出他的名字，以免進(jìn)黑名單）。此外，犯罪也不可發(fā)生于中國(guó)國(guó)內(nèi)，要把這片土地默認(rèn)是一清二白才好。在國(guó)家機(jī)關(guān)工作的都得是好人，政府職員不能涉貪，中國(guó)也沒有妓女。得到廣電總局的許可還只是第一步。如果主角是個(gè)和尚，或是故事背景設(shè)在寺廟和教堂，那你還要征得國(guó)家宗教事務(wù)局的許可。如果是間諜片兒，還要讓國(guó)家安全局審查。如果是警匪片，你還要得到警團(tuán)所謂的文藝部的準(zhǔn)許。鬼故事也要搞成開放式結(jié)局，往往讓人有“玩我吶！”之感。2006年春，由張牧野所寫的一部網(wǎng)絡(luò)小說《鬼吹燈》取得了巨大轟動(dòng)，一時(shí)間讀者能以百萬計(jì)。關(guān)于此書的實(shí)體出版和改編電影走向國(guó)外的相關(guān)討論也是叫囂塵上。然后就沒了。整個(gè)計(jì)劃就此擱置。在《鬼吹燈》經(jīng)國(guó)家審批后的出版版本中，書中一切涉及超自然的成分都被剔除了，而沒了這些，電影自然也沒法拍了。

At least half of Hong Kong movies today areco-produced with mainland organizations, and screenwriters here are also having to toe the Beijing line.”That's why we usually make 'ancient swordsman' films,or stories that happen in the period before the founding of the New China,“ the Hong Kong screenwriter explained.He meant that you can show something negativein mainland China only so long as it happened before the Communist revolutionin 1949 — but be careful not to portray that period as a golden era, because for that you might get censored.Can a good story be written under suchconditions? It's difficult.Some screenwriters have managed through cunning:One director squeaked a crime movie set in Hong Kong past the censors afterclaiming the action took place before the transfer in 1997，while the territory was still under the rule of those evil Brits.今天至少一半的香港電影都是與大陸的合拍片，而劇本自然也就不得不向廣電總局的標(biāo)準(zhǔn)靠攏。“所以我們總是拍古裝武俠片，或者是新中國(guó)成立以前那段時(shí)期的片子?！边@位香港編劇解釋道。也就是說，只要是新中國(guó)以前，展現(xiàn)那個(gè)時(shí)代中國(guó)大陸的陰暗面也是可以的，但要千萬注意不可把那個(gè)時(shí)代描繪的太好，跟什么黃金時(shí)代似的，不然審查又是一個(gè)麻煩。在這樣的條件下能寫出好劇本嗎？很難。有些編劇就想出了各種歪主意：曾有位導(dǎo)演拍了部設(shè)定在香港的犯罪片，然后稱這個(gè)故事發(fā)生于1997年之前——那時(shí)香港不還是被邪惡的大英帝國(guó)統(tǒng)治嘛。于是就過審了。

More often, the rules kill creativity.The 2002 Hong Kong movie ”Infernal Affairs,“ a gripping tale about a triad member who infiltrates the police, was remade in Hollywood as ”The Departed,” which won four Oscars, including one for best adapted screenplay.In the original,the gangster antihero ultimately avoids being exposed by killing someone in his own gang.Is he still faking it, or has he become the top cop he was pretending to be? In the version of the film that was reshot in China, the ending is a clunker:Confronted by police officers who accuse him of being a mole, he turns in his badge without a word.That crime story I co-wrote with theChinese director had to be rejiggered multiple times.It eventually resulted inan implausible tale about an Italian businessman who flies into Beijing, stealsa huge cache of art treasures, and flies out while pursued by noble detectives of Chinese origin.It was never filmed, to my relief.The problem is not about to go away.According to Xinhua, the state-run news agency, China's uncompromising president, Xi Jinping, told a forum of writers in October, “The arts must serve the

people and serve socialism.” Anthony Lee, a Hong Kong Polytechnic University lecturer on entertainment, said, “The buzz in theindustry is that the toughness of China's new leader is making things harder,not easier.” 但除了這種曲線救國(guó)般的點(diǎn)子，審查制度更多的時(shí)候還是扼殺了從業(yè)人員的創(chuàng)造力。2002年香港電影《無間道》堪稱是一部扣人心弦的片子，講述了三合會(huì)與警方相互潛伏的故事，還被好萊塢拿去拍了《無間道風(fēng)云》，翻拍版還贏得了四項(xiàng)奧斯卡獎(jiǎng)，包括最佳改編劇本獎(jiǎng)。在原版電影中，出身黑幫的反英雄主角殺掉了同樣來自黑幫的某人，從而避免了自己的身份被暴露。那么他是仍舊在假裝，還是已經(jīng)認(rèn)同了他一直所扮演的頂級(jí)警官的角色呢？而在經(jīng)過特地補(bǔ)拍的大陸版中，這份懸念就灰飛煙滅了：結(jié)局被改成了警員們怒指他是間諜，而他一言不發(fā)地上交了自己的警徽。我和中國(guó)導(dǎo)演合寫的那個(gè)劇本，在經(jīng)過多次修訂之后終于變成了這樣一個(gè)故事：一位意大利商人飛到北京，盜走了藝術(shù)珍寶，然后在逃跑的過程中被中國(guó)出身的高尚的警探追擊。這個(gè)故事我自己都看得蛋疼，謝天謝地，它一直沒被拍成電影。如今這個(gè)問題還沒有解決的跡象。根據(jù)中國(guó)國(guó)有媒體新華社的報(bào)道，領(lǐng)導(dǎo)人習(xí)圌近圌平在10月份的文藝座談會(huì)上強(qiáng)調(diào)道，“文藝要堅(jiān)持為圌人圌民圌服圌務(wù)、為社會(huì)主義服務(wù)這個(gè)根本方向”。香港理工大學(xué)的娛樂業(yè)講師Anthony Lee說道，“業(yè)界現(xiàn)在有一種聲音，認(rèn)為中國(guó)新任領(lǐng)導(dǎo)人的強(qiáng)硬態(tài)度沒讓事情變得更容易，反而更加艱難了?！?/p>

Screenwriters may find some hope in thefact that in the long run the Chinese public, and investors, will demand global standards of story writing.On a domestic airline in China recently, I notedthat a movie showing a lone Chinese hero defeating a Japanese horde was playingon drop-down screens.Not one passenger seemed to be watching it.Instead many were watching Hollywood films on portable devices.但是，或許仍有一件事能讓編劇們看到些許希望：長(zhǎng)遠(yuǎn)來看，中國(guó)的觀影大眾和投資

者們總有一天會(huì)要求國(guó)際水平的影視劇本。最近在中國(guó)國(guó)內(nèi)的航班上，我注意到飛機(jī)下拉屏幕上在播一部中國(guó)孤膽英雄暴打日本鬼子的電影，但是放眼望去好像一個(gè)看的人都沒有。反而有不少乘客，在用便攜式設(shè)備看好萊塢的電影