楼主:千龙新闻 时间:2018年12月15日 08:04:11 点击:0 回复:0
You cant keep a good man down. George Clooney was arrested Friday participating in a staged protest outside the Sudanese embassy in Washington, D.C., organized to bring attention to that country president, Omar al-Bashir, provoking a crisis with his blockade of humanitarian aide. Regarding the situation, Clooney, 50, had said earlier in interviews that if steps were not taken in the next three to four months, ;Were going to have a real humanitarian disaster.; He also said he is impressed with President Barack Obama personal engagement on the situation in Sudan. On Wednesday, the actor testified bee Congress about the ;campaign of murder; in Sudan. As he was being taken away Friday morning, after authorities warned him three times to leave, Clooney said, ;This is the government in Khartoum to stop randomly killing its own innocent men, women and children. Stop raping them and stop starving them. That all we ask,; reports USA Today. Handcuffed and arrested along with him were his father, journalist Nick Clooney; U.S. Rep. Jim Moran (Dem.) of Virginia; NAACP President Ben Jealous, among others, reports the Associated Press. They were then placed in a Secret Service van.乔治;克鲁尼(George Clooney)在上周五因参与反对苏丹种族冲突的人道主义示威活动而被捕这次示威活动旨在抗议苏丹政府对人民施加的暴行,以及该政府阻挠并封锁食品和援助进入该国南科尔多凡的努巴山区的行为,组织者之一的克鲁尼在华盛顿苏丹领事馆外被捕并被戴上手铐,同时被捕的还有克鲁尼78岁的父亲尼克;克鲁尼,他也是一位新闻记者Max Milien, spokesman the Secret Service, told PEOPLE the actor was being cooperative. ;He being charged currently with disorderly crossing of a police line, which is a misdemeanor and he will be transported to the second district of the Metropolitan Police Department processing,; Milien said. A rep the actor released a statement after the arrest, stating, ;They were protesting the violence committed by the government of Sudan on its own innocent men, women and children. They were demanding they allow humanitarian aid into the country bee it becomes the largest humanitarian crisis in the world.; The arrest was not unexpected, Earlier in the day, The Washington Post reported, ;By standing on the embassy private property, theyre likely to get cuffed, arrested and charged.;在其被捕之后,克鲁尼的经纪人发布声明阐称;他们是在抗议苏丹政府对其无辜的人民作出的暴行,他们要求在发生最大规模的人道主义危机前,对这个国家提供人道主义援助;Clooney was eventually released Friday afternoon.而在周五下午,克鲁尼已经被释放 78Bee partisan panels, split-screen shoutfests and brash personalities became ubiquitous on cable news, there were two men who despised each other sitting side by side on a drab soundstage, debating politics in prime time during the presidential nominating conventions of 1968. There were Gore Vidal and William F. Buckley Jr.在有线电视新闻还没有被党派分明的嘉宾、分屏隔岸的对骂和粗蛮的人身攻击淹没的年代,两个誓不两立的男人,肩并肩坐在布置单调的演播室里,以1968年总统候选人提名大会为背景,在黄金时段展开了一场政治辩论他们就是戈尔·维达尔(Gore Vidal)和小威廉·F·巴克利(William F. Buckley Jr.)Literary aristocrats and ideological foes, Vidal and Buckley attracted millions of viewers to what, at the time, was a highly irregular experiment: the spectacle of two brilliant minds slugging it out — once, almost literally — on live television. It was witty, erudite and ultimately vicious, an early intrusion of full-contact punditry into the staid pastures of the evening news.两位文学高士,意识形态的死对头,吸引了数百万观众前来围观这场在当时极不寻常的实验:两个卓逸不群的头脑在直播电视节目上决一死战——一度几乎发展成肉体相搏他们的言语诙谐、学,但终究是恶毒的,这是张牙舞爪的意见领袖入侵古板晚间新闻的早期案例What transpired would alter both men’s lives — and, as a new documentary argues, help change the course of how the American political media reports the news. “Best of Enemies,” which opens July 31, makes the case that their on-screen feuding opened the floodgates today’s opinionated, conflict-driven coverage.辩论改变了他们的一生——而如一部新近出品的纪录片所说,它还将改变美国政治媒体的新闻报道方式7月31日上映的《最佳死敌(Best of Enemies)提出,维达尔和巴克利的荧屏夙怨,为今天热衷于撩拨争议和成见的报道开了先河The film might have been a sober lesson in the erosion of our civic discourse, timed to the start of yet another 7 presidential campaign. But its directors, Morgan Neville and Robert Gordon, present their ideas with a wide scope, exploring the rivalry between their subjects and evoking an era when public intellectuals like Vidal appeared on “Playboy After Dark” and magazine editors like Buckley, the founder of National Review, ran mayor of New York. (He lost.)在又一场不眠不休的总统竞选大战开始之际,这部影片也许可以让我们对公民话语的颓败有一个清醒的认识然而,导演根·内维尔(Morgan Neville)和罗伯特·戈登(Robert Gordon)是透过一个宽阔的视角来呈现他们的理念的,在探究两位人物的角力的同时,影片也唤起了我们对一个时代的记忆——那时候,像维达尔这样的公共知识分子可以登上《深夜秀(Playboy After Dark)之类的节目,而身为杂志编辑、《国家(National Review)创始人的巴克利可以竞选纽约市长(没能获胜)“They don’t make people like Gore Vidal and William F. Buckley anymore,” Mr. Neville said in a recent interview. “Their lives are the kind of American lives that people don’t have anymore. To me, just on a theatrical level, it seemed operatic: this kind of grand battle.”“戈尔·维达尔和威廉·F·巴克利这样的人已经停产了,”内维尔在近日的一次访谈中说“他们过着一种现在的人不可能有的美国生活在我看来,仅从戏剧性的层面来讲,这就像一部歌剧:一场盛况空前的大战”The film’s trump card is the debates themselves — first during the Republicans’ convention in Miami, then three weeks later during the Democrats’ in Chicago — resurrected in rarely seen footage that, 7 years on, remains almost giddily entertaining: “Crossfire” with a script by No氀 Coward.影片的主要卖点就是辩论本身——先是在共和党的迈阿密大会期间,三周后在民主党的芝加哥大会期间又有一场,7年前的罕见文献获得重生,至今看来仍然让人大呼过瘾,就像是照着诺埃尔·科沃德(No氀 Coward)的稿子排演的一集《交叉火力(Crossfire)脱口秀Vidal tells Buckley that he was an inspiration Myra Breckinridge, Vidal’s transgender literary creation: “passionate and irrelevant.” Buckley mocks Vidal’s failed screenplays and produces a note from Robert F. Kennedy, killed weeks earlier, suggesting that Vidal be deported to Vietnam. (Vidal, examining the letter, notes that the handwriting is slanted upward: “sign of a manic-depressive,” he says coolly.)维达尔对巴克利说,自己笔下的跨性别人士迈拉·布雷肯里奇(Myra Breckinridge)这个形象,就是受他的启发创造的:“饱满,不知所云”巴克利则嘲笑了维达尔的烂电影剧本,并给将于两周后遇刺的罗伯特·F·肯尼迪(Robert F. Kennedy)写了张便条,建议把维达尔驱逐到越南(维达尔看了条子,发现巴克利的字向上倾斜:“躁狂抑郁的迹象,”他冷冷地说)Anchors like Howard K. Smith and Walter Cronkite had occasionally offered commentaries on the news, “but that was very civil,” Mr. Neville said. “What they brought,” he added, referring to Vidal and Buckley, “was a whole other level of incivility that television hadn’t really seen.”霍华德·K·史密斯(Howard K. Smith)和沃尔特·克朗凯特(Walter Cronkite)这样的主持人会发表对新闻的,“但那都是很文明的,”内维尔说维达尔和巴克利“带来了一种当时的电视上见识不到的粗鲁”Mr. Neville, who won the feature documentary Oscar “ Feet From Stardom,” and Mr. Gordon, a longtime collaborator, first watched the debates in , on a bootleg copy from a friend. “I immediately was taken by how contemporary it was,” Mr. Gordon said, noting that between zingers, Buckley and Vidal were debating eign wars, racial justice and states’ rights.曾凭借《离巨星二十英尺( Feet From Stardom)获得奥斯卡最佳纪录长片的内维尔,在年和长期合作伙伴戈登一起看到这场辩论,当时是通过一个朋友的私录影像“看上去太像当代的东西,我当场被镇住了,”戈登说,他注意到在刀光剑影之间,两人辩论的是外国战争、种族正义和联邦诸州的权力But the directors, both mer journalists, also discovered that the debates’ legacy became more about ire than ideas.然而两位作过记者的导演还发现,辩论留下的传奇更多侧重于愤怒而不是理念Buckley showcased provocative debate on “Firing Line,” his program which had its debut in 1966; Vidal was a mischievous guest on talk shows. But the film presents network news in 1968 as a gray affair. When A hired Buckley and Vidal to hold daily debates during its convention coverage — essentially a ratings stunt by a network ranked last in the ratings — it was breaking from the gavel-to-gavel norm.在他自己的一个首播于1966年的节目《火线(Firing Line)中,巴克利展现了极具挑衅性的辩术;脱口秀上的维达尔也是出了名的毒舌但在影片中,1968年的电视网新闻处在一种灰色状态A请来巴克利和维达尔,要他们在政党大会报道期间进行每日例行的辩论,目的是背离部就班的节目常态——根本上是一个收视率垫底的电视网在人眼球And then some. On a night of riots at the Democratic convention in Chicago, Buckley and Vidal had their own climactic on-air clash. Vidal called Buckley a “crypto-Nazi,” prompting a reaction that still stuns.结果何止是背离在举行芝加哥民主党大会的那个暴戾的夜晚,巴克利和维达尔的冲突在众目睽睽之下达至顶峰维达尔称巴克利是个“秘密纳粹”,后者的反应至今看来仍十分惊人“Now listen, you queer,” Buckley replied, “stop calling me a crypto-Nazi or I’ll sock you in the goddamn face and you’ll stay plastered.” He was nearly out of his chair, inches from Vidal, his face, as Christopher Hitchens recalls in the film, “a rictus of loathing.”“你这个娘娘腔给我听好了,”巴克利说,“再说我是秘密纳粹,我就给你那张臭脸上来一下,让你就一直这么瘫着”他几乎已经从离开自己的椅子,离维达尔只有几厘米,克里斯托弗·希钦斯(Christopher Hitchens)在片中回忆,巴克利的脸上带着“一种憎恶的狞笑”Such slurs are rarely heard on television today; at the time, they were deeply profane, and the exchange was cut from the West Coast broadcast, according to Mr. Gordon. Vidal saw it as a triumph; Buckley almost never spoke of it again.这样的诋毁,在今天的电视上已经很难见到了;据戈登说,当时两人都粗口连篇,这段对话在A的西海岸播出中被删掉维达尔认为这是一场胜利;巴克利此后几乎再也不提此事“Best of Enemies” documents the aftermath: News producers, intrigued by A’s ratings increase, began pitting liberals against conservatives. A montage features an old “PointCounterpoint” segment from “60 Minutes”; Jon Stewart berating the hosts of CNN’s “Crossfire”; and shouty clips from Fox News.《最佳死敌还记录了节目播出后的情形:在A收视率飙升的刺激下,新闻制片人们开始有意安排自由派和保守派人士的较量片中收录了一系列节目片段:《60分钟(60 Minutes)的一段“针锋相对”(PointCounterpoint)老画面;乔恩·斯图尔特(Jon Stewart)痛斥CNN《交叉火力的主持人;以及Fox新闻频道(Fox News)上的咆哮The film, which debuted this year at Sundance, has resonated: The screenwriter Aaron Sorkin recently signed on to write a feature-length dramatic adaptation. “I’d never heard about the VidalBuckley debates bee seeing the documentary,” Mr. Sorkin said by email, comparing the climactic debate to “a classic courtroom scene.”这部今年在圣丹斯电影节(Sundance)上首映的影片引发了共鸣:电影剧作家艾伦·索尔金(Aaron Sorkin)近日签下了一个故事长片剧本改编合同“在看到这个纪录片之前,我完全没听说过维达尔和巴克利的辩论,”索尔金在电子邮件中写道,他把辩论的高潮部分比作“一场经典法庭戏”Research the documentary took years, with the directors plumbing archives gems like Vidal’s handwritten debate notes. (Many of his supposed ad-libs were, in fact, rehearsed.) The directors interviewed Vidal in , two years bee his death, at his Hollywood home, where he initially accused them of being Buckley partisans. “It was like a scene from ‘Sunset Boulevard,’ ” Mr. Neville recalled.影片进行了数年的调研,两位导演挖到了许多珍贵的史料,比如维达尔手写的辩论笔记(他的许多看似即兴的讲话,实际上是经过排练的)导演在年前往维达尔在好莱坞的家中采访了他,那时距离他去世还有两年维达尔一开始指责两人是巴克利的党羽“简直就像《日落大道(Sunset Boulevard)里的场景,”内维尔说That interview does not appear in the film; Buckley died in , and the directors felt allowing only Vidal to speak would unbalance the film. Instead, they draw on journalists, media critics and relatives, including Buckley’s brother Reid. Buckley’s son, Christopher, declined to speak. “I think it was honoring his father’s intentions to not ever speak of the V-word again,” Mr. Neville said.影片中没有出现那段采访;巴克利是年去世的,他们不想只有维达尔在说话,导致影片失衡他们采访了记者、媒体人和亲属,包括巴克利的弟弟瑞德(Reid)巴克利的儿子克里斯托弗(Christopher)拒绝接受采访“我认为他是在遵照父亲的意愿,永远不再提那个V打头的词,”内维尔说Mr. Neville, who briefly worked as a fact-checker Vidal after college (“One of the most thankless jobs I’ve ever had”), said that audiences frequently tell him how relevant the film seems to today’s media culture. Mr. Gordon regards that as a hopeful sign. “People are hungry the public intellectual,” Mr. Gordon said. Buckley and Vidal “had minutes a night, uninterrupted. Imagine that today. Imagine having two witty, literate heavy thinkers having a go at each other minutes without someone in the headset saying, ‘Quick, talk about Monica Lewinsky’s underwear.’ ”内维尔大学毕业后曾为维达尔作过一阵子的事实核查工作(“这辈子最吃力不讨好的差事”),他说时常有观众告诉他,影片放在当下的媒体文化中是十分切题的戈登认为这是个喜人的迹象“人们迫切需要公共知识分子,”戈登说巴克利和维达尔“每晚有不间断的分钟再看看今天你能想象两个满腹经纶的思想家就这样你来我往分钟,中间不会听到耳机里传来一个声音,‘快,说说莫妮卡·莱温斯基的内衣’”Mr. Neville agreed. “Now, you watch cable news, and you know what everybody’s going to say bee they open their mouth,” he said. Buckley and Vidal “were independent thinkers, and independent thinkers aren’t given a lot of time on television today.”内维尔也这样看“你去看有线电视新闻,这些人一张嘴,你就知道他们要说什么,”他说巴克利和维达尔“是独立的思想者,独立的思想者在今天的电视上得不到多少机会”Few current news programs can match the lexical fireworks of the Buckley-Vidal debates, and it is true that the words “Latinate” and “hobgoblinization” are unlikely to be heard on CNN anytime soon.在如今的新闻节目里,巴克利-维达尔论战这样排山倒海的词汇量已经很难见到,在CNN听到“Latinate”(类拉丁文的)和“hobgoblinization”(精灵化)之类的词机会很渺茫But “Best of Enemies” also proves something else: that even during a more genteel era in television news, the most pedigreed and respected intellects could descend into name-calling and, a moment, the threat of physical violence.然而《最佳死敌还明了一件事:即使在电视新闻还正襟危坐的年代,最受敬仰、最纯粹的知识分子也会堕落到人身攻击的层次,甚至一度要诉诸肢体暴力Mr. Sorkin, who lamented the state of television news in his HBO series, “The Newsroom,” was asked what today’s news media might learn from these debates nearly half a century old.索尔金曾在他的HBO剧集《新闻编辑室(The Newsroom)中哀叹电视新闻的现状,那么他认为今天的新闻媒体能从将近半个世纪前的辩论中学到什么呢?“I think they’ve learned it,” Mr. Sorkin replied. “Incivility rates.”“我认为他们已经学到了,”索尔金答道“无礼言行有收视率” 9

To the Polish author Stanislaw Lem, creating science fiction was itself a m of time travel. “What the science-fiction work presents belongs to one time (most often the future), whereas how it tells its story belongs to another time, the present,” he once wrote. “Even if imagination succeeds in rendering plausible how it might be, it cannot break completely with the way of apprehending events that is peculiar to the here and now.”对于波兰作家斯坦尼斯拉夫·莱姆(Stanislaw Lem)来说,创作科幻小说本身就是一种时空旅行“科幻小说的工作就是呈现出属于某个时刻的东西(通常是未来),然而讲故事的方式却属于另一个时刻——那就是现在,”他曾经这样写道“就算想象力成功地把另一个时空演绎得活灵活现,它也不可能完全脱离此时此地理解事物的独特方式”Inevitably, the “here and now” ages into “there and then,” and the distance between those two points can be more disorienting than any wild flight into the universe. That’s one of the thoughts that arises a viewer of the unfamiliar titles in Strange Lands: International Sci-Fi, the Film Society of Lincoln Center series starting Friday that runs the gamut from space-age sex farce to dystopian nightmare and travels to such lost worlds as Czechoslovakia and the Soviet Union.他口中的“此时此地”已经不可避免地流逝而去,成了“彼时彼地”,两个时空之间的距离或许比宇宙中的激战更加令人困惑自周五开始(8月日——译注),林肯中心电影协会推出“奇异之地:国际科幻电影展映”(Strange Lands: International Sci-Fi),内容涵盖了太空时代的性闹剧到反乌托邦梦魇,也兼顾捷克斯洛伐克与苏联这些失落的世界,当观众看着那些陌生的片名时,关于“此时此地”与“彼时彼地”的思考便会涌上心头These Cold War rarities do more than serve as kitschy time capsules, they represent traditions of sci-fi filmmaking as storied, if not as well budgeted, as Hollywood’s.这些“冷战”期间的罕见影片不仅是刻奇的时光胶囊,它们就算不像好莱坞电影一样由大笔资金制作,但也同样著名,代表了科幻电影的传统The series wanders throughout Europe, but is tellingly weighted toward the mer Soviet bloc. With its bent toward theoretical worlds and systems, the genre lent itself extremely well to expressions of socialist utopia, especially after the cosmonaut Yuri Gagarin, the first person to orbit Earth, fueled dreams of a Communist galaxy. Such tales often involved assorted comrades banding together to solve interplanetary conundrums, invariably sacrificing self the sake of society and the universe. In East Germany, the state-run studio DEFA produced seven movies in this mode, two of which appear in the series.这个展映系列贯穿整个欧洲,但显著偏重前苏联地区的电影科幻类型的电影倾向于展现理论中的世界和体系,特别适合表现社会主义乌托邦俄国宇航员尤里·加加林(Yuri Gagarin)进入太空绕地球一周后,更是促进了苏联对于共产主义系的梦想这样的故事通常是讲述各种各样的同志们联合在一起,去解决星际间的各种问题,为了全社会,为了全宇宙,免不了要有自我牺牲东德的国营电影制片厂DEFA制作了七部这种类型的电影,其中两部会在这个影展系列中放映In one, “Eolomea” (197), a slew of rocket ships goes missing outside an international space station, prompting the leggy scientist Maria Scholl (Cox Habbema) to investigate with the aid of a onetime paramour, the wiseacre navigator Daniel Lagny (Ivan Andonov). With a space-lounge soundtrack, Ms. Habbema’s killer mod attire (like a turtlenecked pantsuit and a skimpy yellow bikini), and Mr. Andonov’s insouciant charisma, the film is very much of its post-’60s moment, or at least aspires to be. The real conflict winds up having little to do with missing spaceships, but instead requires Lagny to choose between scientific progress and the nostalgic pull of earthier concerns. The rogue is tamed the common good in the end, but his wistfulness hints that even behind the Iron Curtain, space dreams had become as defined by David Bowie’s “Space Oddity” as by the Gagarin triumph.其一是197年的《厄洛米亚(Eolomea),片中有许多太空船在某国际空间站外失踪了,有着一双美腿的科学家玛利亚·修尔(Maria Scholl,考克斯·哈比玛[Cox Habbema]饰)在自以为无所不知的领航员丹尼尔·拉尼(Daniel Lagny,伊万·安多诺夫[Ivan Andonov]饰)帮助下进行调查,两人曾经有过一段情缘哈比玛穿着杀手般的太空衣(有点像高领连裤套装和暴露的黄色比基尼的结合),安多诺夫则有着无忧无虑的魅力,这部片子还有太空风格的电子乐配乐,很像后60年代风格,至少是努力达到这样的效果最后冲突真正的解决和那些消失的太空船没什么关系,但是需要拉尼在科学发展与对地球怀旧式的顾虑之间做出选择最后这个无赖的家伙顺从了普遍利益,但是他的惆怅暗示着,就算在铁幕的那一边,对太空的梦想一方面由加加林的胜利所塑造,另一方面也受到大卫·鲍伊(David Bowie)的《太空怪人(Space Oddity)影响Four years later, DEFA produced even groovier and loonier entertainment. Like an extended, very special episode of “Star Trek,” “In the Dust of the Stars” (1976) follows the spaceship Cynro as it responds to a distress signal from the planet TEM . Except there’s no evidence of trouble; in fact, TEM is a land of endless partying, with citizens go-go dancing to swanky wah-wah funk and getting high from aerosol breath fresheners. But it soon becomes apparent that the partyers are actually colonizers, and that the native people have been exiled underground and enslaved.四年后,DEFA制作了更精、更疯狂的片子1976年的《在星尘之中(In the Dust of the Stars)就像是《星际迷航(Star Trek)的延伸,像是它的特集影片跟随太空船辛诺号,它应答着TEM 行星上发出的悲伤信号而在TEM 上却没有任何麻烦的迹象,那里上演着无穷尽的派对,人们伴着时髦的放克乐跳摇摆舞,空气里的喷雾清新剂让人飘飘欲仙但是,影片很快就表明,这些开派对的人其实是殖民者,本地人被流放到地底,遭受奴役While there’s little nuance to the film’s anti-imperialist, anti-American allegory (the most prominent slave is even outfitted in Native American garb), it offers a more sophisticated dilemma, which is still relevant: whether to arm the TEM insurgency — and commit to an extended and deadly embroilment on eign turf.虽然这部影片也是反帝国主义和反美寓言(最显眼的一个奴隶甚至穿着美洲土著人的饰),它也带来了一个更复杂的困境,到如今仍然有意义:是否要武装TEM 行星上的起义者,是否要在外星势力范围上掀起扩大的,致命的动乱Shoddily ambitious, exhilaratingly awkward and truly bonkers, “In the Dust of the Stars” seemed to aim a certain cultural moment but instead landed fascinatingly far afield.《在星尘之中有着恶劣的野心、欢快的笨拙和真实的疯狂,似乎是旨在捕捉一个特定的文化时刻,但却奇异地落在了遥远的地方Mr. Lem, who was the most influential sci-fi writer in Europe during the era (and who’s represented in the series by Edward Zebrowski’s relatively realistic adaptation of his first novel, “Hospital of the Transfiguration”), wrote of how the horrors of the th century defined all approaches to the genre. “In the postwar years, there seemed to be only this choice, between hope and despair, between a historically untenable optimism and a well-justified skepticism that was easily apt to turn into nihilism,” he said.莱姆是当时欧洲最有影响力的科幻作家(在这个影展里有爱德华·赞布罗斯基[Edward Zebrowski]根据他的第一部小说《变脸医院[Hospital of the Transfiguration]改编的电影,风格比较现实主义),他曾写过,世纪的种种恐怖是如何影响了科幻小说的方方面面“在‘二战’之后的岁月里,似乎只有这一种选择,不是希望就是绝望,不是从历史角度而言根本站不住脚的乐观主义,就是有理有据,很容易就变成虚无主义的怀疑主义,”他说Emerging from Czechoslovakia in 1967, Jan Schmidt’s “The End of August at the Hotel Ozone” veers definitively toward nihilism.1967年,简·施密特(Jan Schmidt)在捷克斯洛伐克推出的《没有男人的八月末(The End of August at the Hotel Ozone)无疑倾向于虚无主义In that film, decades after a devastating nuclear holocaust, a small band of women roams the landscape looking food and kicks. A fierce matriarch is the only one who remembers the old world, and the only one with any sense of morality, but she’s got dwindling sway over the anarchic marauders, who shoot a dog and behead a snake sport. So bleak is the outlook that hope (an old man, who may be the last on Earth) and grace (a gramophone that plays only “Beer Barrel Polka”) are introduced just so they can be summarily squashed.在影片中,摧毁一切的核灾难已经过去十几年了,一小群女人在山野漫游,寻找食物和刺激一位凶猛的女族长是唯一一个还记得旧世界的人,也是唯一一个有道德意识的人,但她渐渐开始配一群无政府主义掠夺者们,她们开打死一只,砍掉一条蛇的头,只是为了寻开心所以画面非常黯淡,片中出现希望(一个老年男人,或许是地球上的最后一个男人)和优雅(一个留声机,只会放《啤酒桶波尔卡这一首曲子)的迹象,只是为了被简单地摧毁Gorgeously shot and devastatingly well told, the film echoes the hopelessness of certain World War II narratives of the era (“Ivan’s Childhood,” “Diamonds of the Night”) while damningly projecting it onto the future. State authorities balked at the film’s bleak outlook, delaying its release, and nearly half a century later its apocalyptic imagery still has the power to shock.这部影片有着精的摄像和令人震惊的叙事,和《伊万的童年(Ivan’s Childhood)、《夜之钻(Diamonds of the Night)等同时期“二战”叙事影片中的绝望相呼应,与此同时又充满谴责地将这种叙事投射到未来国家当局害怕电影中惨淡的景象,延迟了它的发行,过了几乎半个世纪,它那末日天启版的想象力仍然令人震撼As Mother Russia, the series includes two wildly different films from the glasnost era that nevertheless both find fantastical visions not in the future or in faraway lands, but in an infinitely warped present.至于“俄罗斯母亲”,这个影展中也收录了两部风格非常不同的影片,来自戈尔巴乔夫的“公开化”(glasnost)时代,两部影片都有幻想的成分,它们不是发生在未来或是遥远的国度,而是发生在一个被扭曲的当代In the cheeky epic “Kin-dza-dza!” (1986), a Muscovite goes out to buy macaroni only to find himself accidentally teleported, alongside a bewildered Georgian student, to a distant desert land. They’re helped and hindered along the way by a pair of scheming, talentless buskers who fly about in a rickety old capsule and speak a language that’s dominated by the catchall word “koo.”在顽皮的史诗片《外星奇遇(Kin-dza-dza!,1986年上映)中,一个莫斯科人外出去买意大利面,却被意外地进行了心灵传送,和一个困惑的格鲁吉亚学生一起被送到遥远的沙漠一路上,一对狡猾而又无能的卖艺人坐着一个破破烂烂的胶囊状物体飞行,有时帮助他们,有时阻挠他们,他们的语言主要是一个含义甚广的词——kooThe stunted, deceptively nonsensical narrative evokes Samuel Beckett, while the bric-a-brac visuals borrow heavily from Terry Gilliam’s pop surrealism. But the sense of giddy pointlessness is Russian to the core. The film’s ultimate joke is that when given the opporty to return to normal Soviet life, the two men keep choosing to dither in this absurd purgatory.这种迟缓、带有迷惑性的胡言乱语让人想起萨缪尔·贝克特(Samuel Beckett),而片中的小古董画面又大量借鉴了特里·吉列姆(Terry Gilliam)的波普超现实主义但是那种轻佻的无意义感则是彻底的俄罗斯风格影片的终极玩笑是:两人虽然得到机会可以重返现实的苏联,他们还是选择在这个荒诞的炼狱里彷徨In “Days of Eclipse” (1988), meanwhile, an early feature from the visionary director Alexander Sokurov (“Russian Ark”), there’s little to distinguish between what’s real and imagined, past and present, wished and feared. An adaptation of the brothers Arkady and Boris Strugatsky’s celebrated novel “Definitely Maybe,” the film never establishes what would normally pass a science-fiction conceit, instead charting the wearied mind of Malyanov (the improbably beautiful Aleksei Ananishnov), a young doctor working in a sweltering Central Asian village.1988年的《日蚀的日子是亚历山大·索科洛夫(Alexander Sokurov)的早期作品,这位富于幻想的导演的代表作是《俄罗斯方舟(Russian Ark)在《日蚀的日子里,真实与想象、过去与现在、希望与恐惧之间很难区分影片是根据阿尔卡季(Arkady)和鲍里斯·斯特鲁加茨基(Boris Strugatsky)兄弟的著名小说《确实也许(Definitely Maybe)改编,影片的故事没有设定为科幻电影的典型概念,而是记录了疲惫的马亚诺夫(Malyanov),一个在闷热的中亚村庄工作的年轻医生的故事,这个角色由美得惊人的阿里克赛·安纳尼斯诺夫(Aleksei Ananishnov)饰演Mr. Sokurov shoots the film through an alien’s eyes, pondering the strangeness of a lobster, a lizard, a little boy and a talking corpse, all while indiscriminately toggling between color and sepia-tone black and white, ground-level and overhead shots. He’s not just making something fantastical of the real world, he’s also disorienting our very perception of it through the tools of filmmaking.索科洛夫通过一个外国人的视角拍摄这部电影,思索着一只龙虾、一只蜥蜴,一个小男孩与一具会说话的僵尸有多么怪异,与此同时随意地在色与墨色调的黑白之间切换,在与地面齐平的拍摄角度和与头顶齐平的拍摄角度之间切换他并不只是让现实生活中的东西变得奇异,也通过电影工具扭曲了我们对现实世界的感知“In the early days of film, the celluloid medium was itself science fiction,” Sonja Fritzsche writes in the thcoming book “The Liverpool Companion to World Science Fiction Film.” She is referring to the work of silent cinema artists like Georges Méliès and Fritz Lang. With “Days of Eclipse,” Mr. Sokurov tapped into that mative past to reaccess a way into the future — a way that’s still infinitely, exhilaratingly strange.“在电影艺术早期,电影胶片这种媒介本身就是科幻的,”索尼娅·弗里切(Sonja Fritzsche)在即将出版的新书《世界科幻电影的利物浦同伴(The Liverpool Companion to World Science Fiction Film)中写道她指的是乔治·梅里埃(Georges Méliès)和弗里茨·朗(Fritz Lang)等默片明星在《日蚀的日子里,索洛科夫利用具有重大影响的过去,重新发现一条进入未来的道路——这条道路至今无穷无尽,充满令人兴奋的奇异 339

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