第一篇：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)。“我覺得自己非常幸運，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。“另一個幸運之處是，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。”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又一個的選擇，塑造自己人生的形狀，“選擇一樣東西就意味著放棄另一樣東西，”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。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。

第二篇：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，何以琛（黃曉明 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)絡小說。這部小說十幾年來一直高居網(wǎng)絡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。

第三篇：影視美聯(lián)英語 泰勒斯威夫特向鄉(xiāng)村音樂告別

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美聯(lián)英語提供：影視英語 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，雖然通風良好，但畢竟是個盒子。《1989》（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。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，她學會了所有規(guī)則，所有背后的門路。現(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。”（作為一種寬容的姿態(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。“有一天我會住進一座巨大的老城市，”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《風格》(Style)，令人回憶起最早的《邁阿密風云》(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。《我希望你能》(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。

第四篇：影視美聯(lián)英語 夏洛克福爾摩斯 從未存在 永遠流傳（范文模版）

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美聯(lián)英語提供：影視英語 夏洛克福爾摩斯 從未存在 永遠流傳

The Museum of London recently debuted Sherlock Holmes: The Man Who Never Lived and Will Never Die, a major exhibition devoted the fictional detective and the real city he inhabited.The items on display include a rare manuscript of Edgar Allan Poe’s The Murders in Rue Morgue—a key influence on Holmes’s creator, Arthur Conan Doyle—and a portrait of Conan Doyle never before seen in public.But alongside these one-of-a-kind historical treasures, visitors will find two curiously modern artifacts: the coat and dressing gown worn by Benedict Cumberbatch in Sherlock, the BBC’s 21st-century reboot of the Holmes stories.夏洛克·福爾摩斯：從未存在 永遠流傳（Sherlock Holmes: The Man Who Never Lived and Will Never Die）——這是英國倫敦博物館正在舉行的首場大型福爾摩斯展的名稱。這場關(guān)于柯南·道爾（Arthur Conan Doyle）筆下虛構(gòu)大偵探的展覽，還向參觀者還原了當時真實的倫敦城——福爾摩斯的倫敦城。本次展出的展品包括埃德加·愛倫·坡（Edgar Allan Poe）小說《莫格街謀殺案》的罕見手稿，該手稿對柯南·道爾創(chuàng)作出福爾摩斯這一人物起到了關(guān)鍵性作用。此外，一幅之前從未公開的柯南·道爾的肖像也在展品之列。而除了這些獨一無二的歷史寶藏，參觀者們還將看到兩件奇怪的現(xiàn)代展品：英國廣播公司（BBC）出品的系列《神探夏洛克》（Sherlock）中，夏洛克扮演者“卷福”本尼迪克特·康伯巴奇（Benedict Cumberbatch）在劇中所穿的大衣和睡袍。

While these costumes are obvious bait for fanboys(and fangirls)who might not be clued into the Victorian literary sensation behind the modern-day television sensation, they also serve as a reminder that Holmes’s fashion choices, from page to screen, have always launched real-world trends.In Conan Doyle’s lifetime, Holmes’s name and likeness were used to advertise pipes and shirts as well as tea, toffee, and mouthwash.More recently, Esquire, FHM, and GQ have advised readers on how to get the Sherlock look.The exhibition provides a retrospective of Sherlockian style, investigating how it has evolved while retaining its instantly recognizable Victorian fashion DNA.The museum even commissioned a Scottish textile mill to create a signature tweed in Holmes’s honor, and a concurrent show features fashion photographer Kasia Wozniak’s prints made using a 1890 field camera.對那些癡迷“卷福”和《神探夏洛克》卻對其原著和維多利亞文學無感的少男少女們來說，這兩件戲服的誘惑無疑是巨大的。然而，這也從另一個側(cè)面提醒我們，從書本到熒幕，福爾摩斯一直引領(lǐng)著社會的時尚潮流。柯南·道爾生活的那個時代，福爾摩斯的名字和肖像被用來宣傳煙斗、襯衫、茶、太妃糖甚至是漱口水。如今，《時尚先生》（Esquire）、《男人裝》（FHM）、《紳士季刊》（CQ）則給讀者提供了夏洛克風格的紳士范穿搭指南。本次展覽回溯了夏洛克風格的發(fā)展歷程，研究了夏洛克風格如何在其演變發(fā)展的過程中，依然保有鮮明的維多利亞時尚元素。倫敦博物館還委托一家蘇格蘭紡織廠特制出一件福爾摩斯紀念款簽名花呢大衣，并同時展出了時尚攝影師卡西亞·沃茲尼亞克（Kasia Wozniak）用1890

年款便攜式相機拍攝的作品。

This lasting fashion legacy is all the more extraordinary considering how stingy Conan Doyle was with descriptions of dress.Our image of Holmes comes almost entirely from his illustrator, Sidney Paget, whose elegant, angular prototype influenced every incarnation thereafter.Though he didn’t always share them with readers, however, Conan Doyle clearly had firm ideas about Holmes’s appearance;he once protested that a poster for the 1899 play Sherlock Holmesmade the detective look “about five feet high” and “badly dressed.” And Timothy Long, the Museum of London’s fashion curator, points out that Conan Doyle used a “l(fā)ost language” of fashion.“The modern audience reading these stories often overlooks clues that were very obvious to contemporary readers,” he says.“Putting Watson in a morning coat or a frock coat indicated the time of day, for example.”

夏洛克風格的時尚傳奇源自柯南·道爾對服飾細節(jié)近乎苛刻的描摹。我們對福爾摩斯形象的認知幾乎全都來自西德尼·佩吉特（Sidney Paget）的插圖。他畫筆下的福爾摩斯原型優(yōu)雅、消瘦，影響了此后每一個福爾摩斯形象的創(chuàng)作。盡管柯南·道爾不常與讀者交換意見，但他顯然對福爾摩斯的形象有自己的理解。他曾對1899年舞臺劇《夏洛克·福爾摩斯》海報中的夏克洛形象提出異議，稱海報中的福爾摩斯看上去只有“約5英尺高”（1.524米），并且“衣著邋遢”。倫敦博物館時尚策展人蒂莫西·朗（Timothy Long）指出，柯南·道爾在書中用了很多有關(guān)時尚的“暗語”。“現(xiàn)代讀者在讀福爾摩斯時，常會忽略那些對作者同時代讀者來說顯而易見的線索。比如，作者描寫華生穿的是晨禮服還是長禮服，其實就已經(jīng)暗示了時間。”

Long describes Holmes’s wardrobe as that of “a modern English gentleman.The greatcoat and the deerstalker were key components of any gentleman’s wardrobe in England at that time period.” Thanks to the popularity of the Holmes stories, plays, and films, they remain so in the popular imagination today.Holmes’s clothes in their various iterations are both timeless and very much of their times.The three most indelible Sherlocks—Paget’s original illustrations, Basil Rathbone in the 1930s, and Cumberbatch—all wear contemporary dress, yet they are all unmistakably the same character.柯南·道爾對福爾摩斯服裝的大篇幅描述向我們展示了“一個現(xiàn)代英國紳士的形象——在那個時代，大衣和獵鹿帽是英國紳士衣柜里不可缺少的元素”。而因為福爾摩斯系列故事、戲劇和電影的普及，時至今日，大家想到福爾摩斯的樣子，仍不感到陌生。在各種各樣的版本里，福爾摩斯的形象永恒而又兼具各個時期的時代特色。佩吉特原始插圖中的福爾摩斯，19世紀30年代巴茲爾·雷斯伯恩（Basil Rathbone）版的福爾摩斯，以及如今的“卷福”版福爾摩斯——這三個迄今為止最成功的福爾摩斯形象都穿著帶有各自時代特點的服飾，卻又都準確無誤地演繹了福爾摩斯永恒的經(jīng)典。

One movie poster called Holmes “the original caped crusader.” 曾有電影海報稱福爾摩斯是“披風斗士原型”。

Take that coat, for example.In the stories, Holmes was “enveloped” in an Ulster, a long, single-breasted coat with a small collar and an attached a hip-length cape.Conan Doyle also mentioned an “overcoat”(possibly the same one)and a “l(fā)ong grey travelling-cloak.” These have morphed over time into one stately, billowing garment, lending the character the mystery and panache of a superhero.(The poster for the 1965 film A Study in Terror called Holmes “the original caped crusader.”)Rathbone’s iconic tartan coat was tailored for the big screen, with a more mobile, elbow-length cape and a wide, face-framing collar.Cumberbatch’s coat—an off-the-rack number by British label Belstaff—was inspired not by the Victorian ulster but the 18th-century greatcoat, with its high, stiffened collar and wide lapels.Instead of a cape, its double-breasted front and pleated, belted back provide volume and movement.先說說福爾摩斯的大衣。小說里，福爾摩斯裹著Ulster款大衣——小領(lǐng)單排扣長款外套外搭長及臀部的大斗篷。柯南·道爾還提到了另一款“大衣”（也許就是同一件）以及一件“長長的灰色旅行斗篷”。隨著時間的推移，這些裝束賦予福爾摩斯這一人物神秘而又氣派十足的超級英雄形象——1965年電影《恐怖的研究》（A Study in Terror）海報稱福爾摩斯是“披風斗士的原型”（“the original caped crusader”）。雷斯伯恩（Rathbone）版福爾摩斯標志性的格子呢大衣，擁有靈活的及肘斗篷和與下顎輪廓更相稱的加寬衣領(lǐng)，專為大熒幕重新剪裁。“卷福”的大衣則是英國品牌貝達弗（Belstaff）的成衣，其創(chuàng)作靈感并非源于維多利亞時代的Ulster款大衣，而是來自18世紀的大衣款式，衣領(lǐng)高而硬，雙排扣前襟代替了斗篷，后背的收腰束帶設計則使衣服顯得更加大氣靈活。

With his Ulster, the literary Holmes wore a cravat.Rathbone’s colorful silk scarves look almost feminine today, but they harmonized with 1930s fashions(think Fred Astaire).In Guy Ritchie’s steampunk-inspired Sherlock Holmes movies, Robert Downey Jr.’s flashy ascots are the only recognizably Holmesian aspect of his costumes, even if they seem more appropriate to circa 2008 Brooklyn than Victorian London.Cumberbatch’s blue-gray scarf functions as an extension of his

coat(and eyes).除Ulster款大衣外，書中的福爾摩斯還帶著圍巾。雷斯伯恩版福爾摩斯的彩色絲綢圍巾在今天看來顯得近乎女性化，但它與19世紀30年代的時尚十分協(xié)調(diào)。在蓋·里奇（Guy Ritchie）的蒸汽朋克電影《夏洛克·福爾摩斯》里，小羅伯特·唐尼（Robert Downey Jr）版福爾摩斯浮華的領(lǐng)巾是該角色唯一顯示福爾摩斯身份的裝束，盡管這似乎更適合2008年的布魯克林，而非維多利亞時代的倫敦。“卷福”的藍灰色圍巾則有襯托大衣和眼睛的效果。

It was Paget who introduced the deerstalker, mentioned nowhere in Conan Doyle’s writings.(Holmes never uttered “Elementary, my dear Watson!” either.)As its name implies, it was a hunting garment, suitable for outdoor pursuits.Paget’s Holmes wore it in the country, never in London.However, Rathbone and subsequent Holmeses wore it everywhere, including indoors.As a trope, the deerstalker improved upon the generic “ear-flapped travelling-cap” Conan Doyle gave his hero.“Holmes never hunted,” exhibition curator Alex Werner reminds us.“But Conan Doyle used the metaphor of hunting to express Holmes’s pursuit of the truth.” Though the deerstalker is no longer a staple of the English gentleman’s wardrobe, it makes an ironic appearance in Sherlock;Cumberbatch impulsively dons one to hide his face from the paparazzi, only to have it become his trademark.(His humiliating nom de tabloid is “Hat Detective.”)Downey, however, wore a fedora, in keeping with his Brooklyn hipster interpretation.福爾摩斯的獵鹿帽是佩吉特在插畫中首創(chuàng)的，柯南·道爾在書中從未提及，原著中只有“有耳遮的旅行帽”（“ear-flapped travelling cap”）的字句。顧名思義，獵鹿帽屬于狩獵裝束，適合戶外活動。佩吉特畫中的福爾摩斯只在鄉(xiāng)村戴獵鹿帽，從不在倫敦戴。而在 雷斯伯恩和之后的各個版本中，福爾摩斯任何時候都戴著獵鹿帽，包括在室內(nèi)。展覽策展人亞歷克斯·沃納（Alex Werner）提醒參觀者：“福爾摩斯從不狩獵，柯南·道爾只是借狩獵這一隱喻來體現(xiàn)福爾摩斯對真相的追求。”盡管獵鹿帽不再是英國紳士衣柜里的必備品，但它已是福爾摩斯的標志特征。“卷福”為了躲避狗仔隊而戴上獵鹿帽遮臉，結(jié)果使獵鹿帽變成了他的標志（他還被戲稱為“帽子偵探”）。唐尼戴的淺頂軟呢帽，則保持著他的布魯克林風格。

His gentlemanly dress often hid what Conan Doyle called Holmes’s “Bohemian soul.” The melancholy, violin-playing, cocaine-injecting insomniac was betrayed by his off-duty clothes, specifically his collection of dressing gowns, which ranged from “mouse-colored” to a dandyish purple.The camel version on display at the Museum of London is the most subdued of several Cumberbatch wears in the BBC series.在福爾摩斯的紳士范穿著之下，隱藏著柯南·道爾所說的“不羈的靈魂”（“Bohemian soul”）。憂郁的小提琴演奏，注射可卡因引起的失眠癥，都從他日常的穿著中顯現(xiàn)出來，尤其是他的睡袍。福爾摩斯的睡袍很多，從灰褐色到新潮的紫色，倫敦博物館目前展出的駝色睡袍是《神探夏洛克》里“卷福”所穿的顏色最為黯淡的一款。

Holmes was well aware of the power of clothing to reveal as well as transform.Anthropometry—a legitimate scientific discipline in the Victorian era—held that physical characteristics corresponded to character traits;Holmes’s high forehead indicated the mighty brain behind it.Clothing, by extension, could do the same—a perfectly reasonable assumption at a time when read-to-wear was in its infancy and those who could afford to still had their clothes custom-made.“Dress is a main

character in the stories when it comes to providing clues for Holmes,” Long says.No scuffed shoe or scratched pocketwatch escaped his notice;the smallest sartorial detail could be the key to solving a case.He once deduced an entire psychological history from the “very ordinary black hat” that led him to the famous blue carbuncle.福爾摩斯深知服裝的力量。在維多利亞時代，人體測量學（Anthropometry）是一個合法的學科。根據(jù)人體測量學，物理特征往往反映人的性格特點，比如福爾摩斯的高前額暗示了其強大的大腦，服裝也是一樣。時尚策展人朗說：“在福爾摩斯思考辦案線索時，服裝扮演了重要角色。”不管是磨損的鞋子，還是有劃痕的懷表，都逃不開福爾摩斯的火眼，衣服上最細微的細節(jié)都可能是破案的關(guān)鍵。福爾摩斯曾僅靠一只“非常普通的黑色帽子”就推導出完整的作案心理過程，成就了著名的“藍寶石案”。

Holmes’s methods—baffling to Watson—are well known to modern-day costume curators and conservators.“We are quite Sherlockian in our approach,” Long says.“We regularly look at wear marks, labels, and types of materials.” Inspired by the Holmes stories, Long and “an army of volunteers” scoured the museum’s archives for historical garments with tell-tale clues to the wearer’s identity.A pair of men’s evening shoes on display has circular wear marks on the soles, suggestive of dancing;a woman’s blouse with ink-stained sleeves recalls the one that helped Holmes identify his client as a typist in A Case of Identity.福爾摩斯的這些方法對華生來說很費解，但是對于當代時尚策展人和管理員來說卻是眾所周知的。朗說，“我們的方法和夏洛克很像。我們會經(jīng)常查看磨損痕跡、商標、用料類型。”受福爾摩斯故事啟發(fā)，朗和一群志愿者用一些能說明穿戴者身份的線索為博物館標記

了歷史服裝。一雙男式晚宴鞋有圓形的磨損痕跡，是跳舞的記號；一件袖子被墨水弄臟的女士襯衫讓人想起了在《身份謎案》中福爾摩斯也曾用同樣的方法辨認出他的客戶是一名打字員。

A master of disguise, Holmes had an arsenal of unlikely alter egos, from an old lady to a “simple-minded Nonconformist clergyman.” Long notes that although Holmes’s borrowed makeup and wardrobe techniques from the Victorian stage, his disguises were not particularly theatrical or exotic, but “the disguises of the everyday.” In Sherlock, Cumberbatch has convincingly posed as a French waiter, a Guardsman, a hoodie-clad heroin addict, and a Pakistani terrorist.福爾摩斯可以稱得是一個偽裝大師，他能完美演繹多種不同的個性，從老婦人到“頭腦簡單的新教牧師”。朗表示，福爾摩斯所用的化妝和著裝技術(shù)雖源自維多利亞時代，卻從不顯得夸張或奇異，相反，它們非常“符合日常生活”。在《神探夏洛克》里，“卷福”已經(jīng)成功地偽裝過法國侍者、英國衛(wèi)兵、身著連帽衫的癮君子以及巴基斯坦恐怖分子。

But Cumberbatch’s greatest disappearing act is his effortless embodiment of Conan Doyle’s archetypal character: the angular silhouette, the hawk-like profile, the cape-like coat.A distinct lack of physical resemblance may be why the other modern-day TV Holmes, Elementary’s Jonny Lee Miller, has struggled to connect with viewers.Miller(like Downey)is more of a Watson than a Sherlock—compact and muscular rather than tall and lanky.It follows, then, that his clothes also break the mold.A floppy coat would not just envelop but swamp him;instead, a double-breasted pea coat provides warmth in the New York winters, while a red tartan scarf provides what little sartorial panache he possesses.But his endless

supply of rumpled vests and ill-fitting blazers convey his Englishness—especially next to Lucy Liu’s quintessentially chic New Yorker of a Watson—while his habit of buttoning his shirts up to the chin telegraphs the character’s OCD tendencies.In this case, however, there’s no mystery why it’s Liu’s Watson wardrobe that has inspired style bloggers.棱角分明的輪廓，鷹一樣的側(cè)臉，還有斗篷大衣——“卷福”幾乎就是柯南·道爾原型人物的化身。而其他版本的福爾摩斯缺少觀眾認同感，與演員本身形象與原著形象有差距分不開，比如《基本演繹法》（Elementary）里的約翰尼·李·米勒（Jonny Lee Miller）。米勒（有點像小羅伯特·唐尼）結(jié)實且肌肉發(fā)達，更符合華生的形象，而非高而瘦福爾摩斯形象。此外，他的著裝也有違人物原型。盡管寬松的雙排扣外套在紐約的冬天里讓人感覺格外溫暖，紅格子圍巾也更能體現(xiàn)他本身所具有的氣質(zhì)，但他那永遠皺巴巴的襯衣和不合身的上衣卻透出濃濃的英格蘭風格，尤其當他與典型紐約時髦范的劉玉玲（Lucy Liu）版華生站在一起時，更是對比鮮明。米勒的襯衫扣子總是一絲不茍地扣到下巴，體現(xiàn)了人物的強迫癥傾向。在這種情況下，劉玉玲版華生的穿著風格能引起時尚博主們的注意，也就不足為奇

第五篇：影視美聯(lián)英語 廣電總局沒有犯罪的中國犯罪片

小編給你一個美聯(lián)英語官方免費試聽課申請鏈接： http://m.meten.com/test/waijiao.aspx?tid=16-73675-0

美聯(lián)英語提供：影視英語

廣電總局:沒有犯罪的中國犯罪片

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發(fā)展的導演的電話，他讀了我的一部偵探小說，問我：“你能給我寫一個犯罪故事的劇本嗎？”然后他又說道，“麻煩的是因為要設定在北京，所以不能出現(xiàn)犯罪。”

廣電總局：沒有犯罪的中國犯罪片.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。中國已經(jīng)建立了龐大的電影工業(yè)，還是全球第二大市場，但是中國以外的觀眾很少會看到在海外播放的中國電影——如果你在影院里曾看到某個武打明星單手逼退敵人，那簡直是一生難得的記憶了。究其原因，可以歸結(jié)到中國的電影審查制度，以及中國政府對于電影里中國形象的極度敏感。

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.“ 如果你想在中國拍片，就必須先把情節(jié)呈交給國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監(jiān)管國有媒體的機構(gòu)，其實一般被當做“審查委員會”看待，是個讓人聞之色變的存在。如果中國大陸以外的組織也參與其中，包括香港的合作伙伴，那么整個劇本都要呈上供大人御覽。如果被批準了，這劇本也就不能再修改了，因而演員和導演不管再怎么想，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。性愛場景，以及對“酗酒、吸煙和其他壞習慣”的描繪不宜出現(xiàn)。“傳播被動或消極的人生觀、世界觀和價值觀”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.審查委員會們會因為影片有時空穿越成分，判定它“不科學”而把劇本打回去；他們也不允許“不符合歷史”的故事，因為既然是在中國，就應該都是史實。反派的種族也是個大問題。“如果涉及到跨國犯罪，反派一定不能是中國人，”一位有著25年從業(yè)經(jīng)驗的香港編劇說道（他請求筆者不要寫出他的名字，以免進黑名單）。此外，犯罪也不可發(fā)生于中國國內(nèi)，要把這片土地默認是一清二白才好。在國家機關(guān)工作的都得是好人，政府職員不能涉貪，中國也沒有妓女。得到廣電總局的許可還只是第一步。如果主角是個和尚，或是故事背景設在寺廟和教堂，那你還要征得國家宗教事務局的許可。如果是間諜片兒，還要讓國家安全局審查。如果是警匪片，你還要得到警團所謂的文藝部的準許。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)絡小說《鬼吹燈》取得了巨大轟動，一時間讀者能以百萬計。關(guān)于此書的實體出版和改編電影走向國外的相關(guān)討論也是叫囂塵上。然后就沒了。整個計劃就此擱置。在《鬼吹燈》經(jīng)國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準靠攏。“所以我們總是拍古裝武俠片，或者是新中國成立以前那段時期的片子。”這位香港編劇解釋道。也就是說，只要是新中國以前，展現(xiàn)那個時代中國大陸的陰暗面也是可以的，但要千萬注意不可把那個時代描繪的太好，跟什么黃金時代似的，不然審查又是一個麻煩。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：曾有位導演拍了部設定在香港的犯罪片，然后稱這個故事發(fā)生于1997年之前——那時香港不還是被邪惡的大英帝國統(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般的點子，審查制度更多的時候還是扼殺了從業(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，講述了三合會與警方相互潛伏的故事，還被好萊塢拿去拍了《無間道風云》，翻拍版還贏得了四項奧斯卡獎，包括最佳改編劇本獎。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)認同了他一直所扮演的頂級警官的角色呢？而在經(jīng)過特地補拍的大陸版中，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。我和中國導演合寫的那個劇本，在經(jīng)過多次修訂之后終于變成了這樣一個故事：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出身的高尚的警探追擊。這個故事我自己都看得蛋疼，謝天謝地，它一直沒被拍成電影。如今這個問題還沒有解決的跡象。根據(jù)中國國有媒體新華社的報道，領(lǐng)導人習圌近圌平在10月份的文藝座談會上強調(diào)道，“文藝要堅持為圌人圌民圌服圌務、為社會主義服務這個根本方向”。香港理工大學的娛樂業(yè)講師Anthony Lee說道，“業(yè)界現(xiàn)在有一種聲音，認為中國新任領(lǐng)導人的強硬態(tài)度沒讓事情變得更容易，反而更加艱難了。”

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：長遠來看，中國的觀影大眾和投資

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