第一篇：娱乐美联英语 帕蒂史密斯新作 后视镜中回望人生
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美联英语提供：娱乐英语 帕蒂史密斯新作 后视镜中回望人生
Patti Smith’s achingly beautiful new book, “M Train,” is a kaleidoscopic ballad about the losses dealt out by time and chance and circumstance.Losing her husband, the guitarist Fred(Sonic)Smith, to heart failure in 1994 at the age of 45.Losing her brother, Todd, a month later to a stroke.Losing her early New York friend and roommate, Robert Mapplethorpe, to AIDS in 1989.Her book is about moving from a time when her children were little and “the things I touched were living”(“my husband’s fingers, a dandelion, a skinned knee”)to a time when she increasingly began to capture and memorialize moments from her life in photos and words — to create, as an artist, talismanic souvenirs of the past.Of which this book is one.帕蒂·史密斯(Patti Smith)凄美动人的新书《M列车》(M Train)如同一曲千变万化的歌谣，吟唱随时间、际遇与环境所失去的一切。1994年，她的丈夫，吉他手弗莱德·“音速”·史密斯(Fred [Sonic] Smith)年仅45岁就死于心脏病。一个月后，她的兄弟托德(Todd)又死于中风。她早年在纽约的朋友与室友罗伯特·梅普尔索普(Robert Mapplethorpe)则在1989年死于艾滋病。这本书是关于她人生阶段的转变——曾几何时，她的孩子们年纪还小，“我所触碰的一切都还是活生生的”（“丈夫的手指、一朵蒲公英、削瘦的膝盖”）；如今，她
开始更多地捕捉和缅怀自己曾在照片和文字中记载的生活，以艺术家的身份，为旧日时光创作出护身符式的纪念品。这本书也是其中的一件。
Musician, poet and photographer, Ms.Smith, 68, is remarkably attuned to the sound and sorcery of words, and her prose here is both lyrical and radiantly pictorial.Like her famous black-and-white Polaroid photos(some of which are scattered throughout the book), the chapters of “M Train” are magic lantern slides, jumping, free-associatively, between the present and the past, and from subject to subject.She captures a passing mood(melancholia she can turn in her hand “as if it were a small planet,” impossibly blue)as deftly as she conjures her cat Cairo(“an Abyssinian runt with a coat the color of the pyramids”)or a childhood memory(“a skate key on a cherished lace from the shoe of a 12-year-old boy”)or a sad, post-Sandy Christmas in the Rockaways.(“Styrofoam snowmen and waterlogged sofas were draped in tinsel.”)
身兼音乐家、诗人和摄影师的史密斯今年68岁，她极擅长将声音与文字的魔力结合起来，她的文笔既充满抒情色彩，又充满画面感。正如她那些著名的黑白宝丽来照片（书中就有一些），《M列车》的章节就像一帧帧神奇的幻灯，在过去与现在，乃至不同主题之间自由自在地连接，不住跳跃闪回。无论是一种转瞬即逝的情绪（她在手中把玩自己的忧郁，“仿佛它是一个小行星”，异常忧伤）；名叫“开罗”的猫咪（“一只阿比尼西亚猫，小家伙的皮毛有如金字塔的颜色”）；一段童年回忆（“那个12岁男孩鞋子上用珍藏的蕾丝系着的滑轮鞋扣”）；亦或是桑迪飓风之后在罗卡韦度过的忧伤圣诞（“金箔包裹着泡沫塑料
雪人和浸水的沙发”），在她笔下都有如信手拈来。
Whereas Ms.Smith’s haunting 2010 memoir, “Just Kids,” centered on her early years in New York in the late 1960s and ’70s and her friendship with Mr.Mapplethorpe, this volume is more peripatetic, chronicling her peregrinations around the world and into the recesses of her imagination, though always returning to her home base in Manhattan.Its unities are not of time and place, but the landscape of Ms.Smith’s own mind — her dreams, her memories, her preoccupation with certain artists(Jean Genet, William S.Burroughs, Sylvia Plath), books(“The Wind-Up Bird Chronicle,” “After Nature,” “2666”)and television shows(“The Killing,” “Law & Order,” “CSI: Miami”).2010年，史密斯那本令人难忘的回忆录《只是孩子》(Just Kids)主要是关于20世纪60年代末到70年代她在纽约度过的早年岁月，以及她与梅普尔索普的友情，而这本书更像是漫游，记录她周游世界的经历，以及在自己幻想中的休憩，不过到最后她总会回到曼哈顿的家中。它并未串联起时间与地点，而是连接起她心中的一处处风景：她的梦境、她的回忆，乃至她对某些东西的迷恋——诸如艺术家让·热内(Jean Genet)、威廉·S·巴勒斯(William S.Burroughs)、西尔维娅·普拉斯(Sylvia Plath)；还有《奇鸟行状录》、《追随自然》(After Nature)、《2666》等书籍，以及《谋杀》(The Killing)、《法律与秩序》(Law & Order)、《犯罪现场调查：迈阿密》(CSI: Miami)等电视剧。
As in a poem or a song, leitmotifs occur again and again: a chair(her father’
s, the novelist Roberto Bola ’s, an ornate white plastic one glimpsed in Tangier), a cafe(in Greenwich Village, in the Rockaways, in Berlin), the many, many cups of coffee consumed by the author at home and everywhere she traveled.正如在诗歌或歌曲之中一样，在她的书里，某些主调也会一再重现，比如椅子（她父亲的椅子、小说家罗贝托·波拉尼奥[Roberto Bola、她在丹吉尔瞥见的一把华丽的白色塑料椅子）；咖啡屋（格林威治村的咖啡屋、罗卡韦的咖啡屋与柏林的咖啡屋），还有她在家里和到处旅行时用掉的无数咖啡杯。
Many of Ms.Smith’s trips are quixotic to say the least.She and Fred journeyed to St.-Laurent-du-Maroni, a small border town in northwest French Guiana so that she could visit the ruins of a French prison colony — because Genet had once written about the place with reverence, and she wanted to retrieve some stones from the site and deliver them to him.史密斯的许多旅行都如同堂吉诃德式的冒险。一次，她和弗莱德到法属圭亚那西北部的边境小镇马罗尼河畔圣洛朗区旅行，只为探访法国殖民者监狱的废墟。这是因为让·热内曾经满怀敬畏地描写过这个地方，她想从这里带回几块石头送给他。
As a member of the Continental Drift Club — an obscure society dedicated to Alfred Wegener, an explorer who pioneered the theory of continental drift — she traveled to Reykjavik, Iceland, for a meeting, and stayed on to photograph the table
used in the 1972 chess match between Bobby Fischer and Boris Spassky.A meeting was arranged with Mr.Fischer and after she stood up to one of his obscene tirades — “I can be just as repellent as you, only about different subjects,” she recalls saying — they end up spending several hours singing Buddy Holly songs and other tracks together, much to the surprise of his bodyguard.她还是“大陆漂移俱乐部”的成员，这个鲜为人知的社团是为了向探险家与“大陆漂移学说之父”阿尔弗雷德·魏格纳(Alfred Wegener)致敬，她到冰岛的雷克雅未克参加社团会议，在那里拍下了鲍比·菲舍尔(Bobby Fischer)与鲍里斯·斯帕斯基(Boris Spassky)象棋比赛时用的桌子。后来她还在那儿同菲舍尔见了面，他对她发表了一番颇为淫秽的长篇大论，她也只能忍着——她记得自己当时说，“我可以像你一样令人讨厌，不过是以不同的话题”——后来他们一起唱巴迪·霍利(Buddy Holly)和其他人的歌，一连唱了好几个小时，他的保镖都惊呆了。
There is something faintly surreal or dreamlike about many of Ms.Smith’s adventures.She and Fred are taken into police custody during their trip to French Guiana, after officers pull over their hired driver — who resembles an extra in the Jamaican film “The Harder They Come,” wearing “aviator sunglasses, cocked cap and a leopard-print shirt” — and discover a man curled up in the trunk of his car.She takes Haruki Murakami’s “The Wind-Up Bird Chronicle” with her on a trip to Mexico City to give a speech about the painter Frida Kahlo and finds herself “looking forward to Mexican food, but the hotel menu was dominated by
Japanese fare.”
史密斯的冒险故事中总有种淡淡的超现实气息或梦幻色彩。她和弗莱德去法属圭亚那时，警察拦下了他们雇来的司机，那家伙有点像牙买加犯罪电影《不速之客》(The Harder They Come)里的人，“戴着飞行员目镜、三角帽，穿着件豹纹衬衫”，警察发现他的车厢里还蜷着一个男人，于是把她和弗莱德也一并拘捕起来。她去墨西哥城做一次关于画家弗里达·卡洛(Frida Kahlo)的演讲时，随身戴着村上春树的《奇鸟行状录》，她“本来盼着能吃到墨西哥菜，却发现酒店菜单上全是日本料理。”
During her travels, Ms.Smith makes pilgrimages to the graves of writers she admires: Brecht, Plath, Rimbaud, Genet.The ghosts of such artists haunt these pages, as do the spirits of her beloved husband and brother.And a dark melody of loss threads its way through this volume.Her favorite coat — lost.Her favorite Murakami book — left in an airport bathroom.Her favorite camera — left on a beach.Her favorite neighborhood cafe — closed.Ms.Smith buys a tiny house near Rockaway Beach, Queens, and while it somehow survives Hurricane Sandy, she witnesses the myriad losses of her neighbors — the boardwalk turned to splinters, a friend’s cafe gone, hundreds of homes burned to the ground or flooded.旅行岁月里，史密斯还去过不少自己敬仰的作家墓前朝圣：布莱希特、普拉斯、兰波、热内。这些艺术家们的幽魂在她字里行间萦绕不去，当然也少不了她深爱的丈夫与兄弟的魂灵。关于失去的黑暗旋律贯穿这本书的始终。她最心爱的风衣——丢了。她最喜欢的一本
村上春树的书——忘在机场厕所里了。她最爱用的相机——丢在海滩上了。她家附近最好的咖啡屋——关门了。史密斯在皇后区罗卡韦海滩买下了一处小小的房子，虽然它挺过了桑迪飓风，但她也亲眼目睹了邻居们的惨重损失，人行道成了废墟、朋友的咖啡屋被冲垮、几百户人家被夷为平地，或者被大水淹没。
If “Just Kids” was about starting out as an artist and setting forth in the world, “M Train” feels more like a look at the past through a rearview mirror.Ms.Smith writes of feeling “a longing for the way things were.” She writes about ghosts drawing us away from the present.She writes about singing “What a Wonderful World” for Fred at his memorial service and she writes about realizing that she is now older than Fred when he died — and older than many of her departed friends.如果说《只是孩子》是关于她作为艺术家的起点，以及她如何在这个世界上启程，《M列车》更像是通过后视镜对自己的过去做一次回望。史密斯写出了“对事物本来面目的怀念”；写出幽魂如何指引我们暂且离开当下的时光；她写到在弗莱德的追思会上为他唱起《多么美好的世界》(What a Wonderful World)；写到她发现自己已经比弗莱德去世时年长、比自己所有英年早逝的朋友去世时都要年长时的心情。
“I’m going to remember everything,” she thinks, “and then I’m going to write it all down.An aria to a coat.A requiem for a cafe.” An eloquent — and a deeply moving — elegy for what she has “lost and cannot find” but can remember in words.“我要记住一切，”她想，“然后我要把它们都写下来：一首风衣的咏叹调，一支咖啡屋的安魂曲。”最终，她带来了这曲意味深长而又深切动人的哀歌，那些“失落了就难以寻回”的东西，却可以通过文字被永远铭记。
第二篇：娱乐美联英语 2017年奥斯卡颁奖典礼闹出乌龙
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美联英语提供：娱乐英语 2017年奥斯卡颁奖典礼闹出乌龙
Moonlight, an evocative coming of age story about a young gay black man, won best picture at the 2017 Oscars but was almost denied its victory in chaotic scenes when the award was mistakenly given to La La Land.一部富有感染力的、描写一名年轻黑人男同性恋成长故事的影片《月光男孩》(Moonlight)，获得2017年奥斯卡(Oscar)最佳影片奖。不过，该片险些与此奖项擦肩而过，原因是在混乱的颁奖现场，此奖项曾被误颁给了《爱乐之城》(La La Land)。
At the end of a politically charged ceremony in which Donald Trump was the subject of frequent jokes by host Jimmy Kimmel, Warren Beatty and Faye Dunaway announced that La La Land had won.But as the producers and cast of Damien Chazelle’s modern musical were on stage giving emotional thank you speeches, they were told that Moonlight was the real winner.在这场充满政治色彩的颁奖典礼——唐纳德?特朗普(Donald Trump)屡次成为主持人吉米?基梅尔(Jimmy Kimmel)打趣的对象——的末尾，沃伦?比蒂(Warren Beatty)和费?唐纳薇(Faye Dunaway)宣布《爱乐之城》赢得此奖项。然而，就在这部达米安?沙泽勒(Damien Chazelle)编导的现代音乐片的制作人员和演员登上舞台、激动地发表致谢演说时，他们却被告知《月光男孩》才是真正的获奖者。
2017年奥斯卡颁奖典礼闹出乌龙.jpg
PwC, the accountancy firm that has been responsible for counting Oscars votes for 80 years and ensuring that the correct envelopes are handed to presenters, swiftly apologised to the films, the presenters and the audience for giving the prize announcement for the wrong category to Beatty and Dunaway.80年来，普华永道(PwC)一直负责奥斯卡奖的计票工作并确保将正确的信封交给颁奖嘉宾。这家会计师事务所很快向两部影片、颁奖嘉宾和观众作出了道歉，因为它交给比蒂和唐纳薇的颁奖通告不是关于这个奖项的。
“We sincerely apologize to Moonlight, La La Land, Warren Beatty, Faye Dunaway, and Oscar viewers for the error that was made during the award announcement for Best Picture.The presenters had mistakenly been given the wrong category envelope and when discovered, was immediately corrected.”
“我们为最佳影片奖颁奖通告期间出现的失误，向《月光男孩》、《爱乐之城》、沃伦?比蒂、费?唐纳薇、以及奥斯卡奖观众表示诚挚地道歉。颁奖嘉宾收到的是错误奖项的信封，这个失误一经发现立刻得到了纠正。”
“We are currently investigating how this could have happened, and deeply regret that this occurred,” PwC said.“We appreciate the grace with which the nominees, the Academy, ABC, and Jimmy Kimmel handled the situation.”
普华永道表示：“我们目前正在调查如何能发生这样的事，并对发生此事深感遗憾。被提名人、电影艺术与科学学院(the Academy)、美国广播公司(ABC)、以及吉米?基梅尔
对这一情况处置得体，我们表示感谢。”
Chazelle’s musical was the hot favourite going into the evening, with a record-tying 14 nominations.Chazelle won the best director award, while Emma Stone won best actress for her performance in the film, which was produced by Lionsgate.There were other La La Land Oscars for score and best original song.沙泽勒编导的音乐片《爱乐之城》是当晚的得奖热门，所获14项提名平了奥斯卡史上的纪录。沙泽勒获得最佳导演奖。而埃玛?斯通(Emma Stone)凭借她在这部由狮门娱乐(Lionsgate)制作的影片中的表演，赢得了最佳女主角奖。此外，《爱乐之城》还获得了最佳配乐和最佳原创歌曲奖。
But Moonlight kept pace with it over the course of a marathon four-hour ceremony.Barry Jenkins and Tarell Alvin McCraney won best adapted screenplay, while Mahershala Ali won best supporting actor — the first Oscar for a Muslim American actor.不过，在长达四小时的马拉松般的颁奖典礼中，《月光男孩》所获奖项一度与《爱乐之城》并驾齐驱。巴里?詹金斯（Barry Jenkins，文首图中）和塔雷尔?阿尔文?麦克拉尼（Tarell Alvin McCraney，文首图右）获得了最佳改编剧本奖。马赫沙拉?阿里(Mahershala Ali)获得最佳男配角奖，这是美国穆斯林男演员首位获得奥斯卡奖。
第三篇：娱乐美联英语 奥斯卡表演奖提名太白遭炮轰
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美联英语提供：娱乐英语 奥斯卡表演奖提名“太白”遭炮轰
Jada Pinkett Smith has announced that she will not be attending or watching the 2016 Academy Awards.贾达·萍克特·史密斯声明拒绝参加或观看2016奥斯卡颁奖礼。
In a video posted to Facebook Monday morning, Martin Luther King Jr.Day, the actress posed some powerful, thoughtful questions.美籍黑人女演员贾达·萍克特·史密斯于当地时间1月18日一早在Facebook发布一则视频。面对镜头，她频频发问，颇有些振聋发聩的味道。巧的是，那天正好是马丁·路德·金纪念日。
“Is it time that people of color recognize how much power, influence, that we have amassed, that we no longer need to ask to be invited anywhere?” she said in the video.“Maybe it's time that we recognize that if we love and respect and acknowledge ourselves in the way in which we are asking others to do, that that is the place of true power.”
她在视频中说：“有色人种是否已经意识到自己手中的力量和影响力了呢？有色人种是否已经意识到我们去任何地方都无需再等待别人邀请？或许，是时候我们爱自己、尊敬自己、认可自己，就像我们要求别人对待我们的那样，这才是真正力量所在。”
Pinkett Smith called for change, saying that “it's our responsibility now” to make the difference.萍克特·史密斯呼吁一种改变，她说做出改变是“我们当前的责任”。
“Begging for acknowledgement, or even asking, diminishes dignity and diminishes power.And we are a dignified people and we are powerful,” she said.“Let's do us, differently.”
“乞求、甚至是请求别人的认同都会贬低尊严，削弱力量。我们有尊严，我们也有力量。让我们就做自己，和别人不一样的自己。”
Fellow member of Hollywood Spike Lee also addressed the #OscarsSoWhite controversy this morning, saying that he, too, will be skipping the Awards show this year.当天上午，好莱坞黑人导演斯派克·李也在Facebook上就“白人的奥斯卡”发表声明，称不会关注今年的奥斯卡颁奖礼。
In an Instagram post, the director condemned Hollywood execs for not using their power to bring more stories about people of color to the big screen.斯派克·李还发布了一条Instagram谴责好莱坞高层未能善用自己的权力，让更多有色人种的故事走向大银幕。
“The truth is we ain't in those rooms and until minorities are, the Oscar nominees will remain lilly(sic)white,” he wrote.他写道：“事实是，我们还未走进奥斯卡殿堂。而在此之前，奥斯卡提名会一直只选择白人。”「注：李用“洁白的”（lily）一词形容白人，不过拼错了（lilly）。」
Following the backlash of yet another year of #OscarsSoWhite, Jada Pinkett Smith expressed her dismay on the awards' lack of diversity.这已是奥斯卡奖第二年遭到“缺乏多样性”的质疑了。而史密斯本人在此前亦表达过不满。
The “Magic Mike XXL” actress, 44, sent out a series of tweets over the weekend.上周末，这位参演了《魔力麦克2》的44岁女演员连着发了好几条推特。
“At the Oscars...people of color are always welcomed to give out awards...even entertain, but we are rarely recognized for our artistic accomplishments,” she wrote, adding, “Should people of color refrain from participating all together?”
她写道：“奥斯卡颁奖礼喜欢选择有色人种作为颁奖嘉宾，甚至是作为表演嘉宾，而我们的艺术成就却鲜获认可。有色人种是不是应当联合起来拒绝参加奥斯卡？”
She continued, “People can only treat us in the way in which we allow.With much respect in the midst of deep disappointment.”
“别人只能用我们能接受的方式对待我们。但恕我直言，我对现实很失望。”
Pinkett Smith isn't alone in her thinking.Following the nomination announcement last week, Rev.Al Sharpton slammed the Academy for overlooking black actors.这么想的并不只是萍克特·史密斯一人。上周奥斯卡提名公布后，阿尔·夏普顿也谴责奥斯卡忽视了黑人演员。
“Yet again, deserving black actors and directors were ignored by the Academy
--which reinforces the fact that there are few, if any, blacks with real power in Hollywood,” he said in a statement provided by the National Action Network.“Being left out of awards consideration is about more than just recognition for a job well-done;winning an Oscar has long-lasting cultural and economic impacts.”
在国家行动网络提供的一项声明中，夏普顿说：“应当获得奥斯卡荣誉的黑人演员和导演再次被忽视了，这进一步证明好莱坞中有实权的黑人数量极少。被奥斯卡排除在外不只关乎影视事业评价——获得奥斯卡奖对文化、经济都有持久影响。”
This year, out of the 20 people nominated in the acting categories at the Oscars none are people of color.None.今年，表演类别奖项提名的20人之中没有一个有色人种，连一个都没有。
Furthermore, in the nominated films that include non-white cast members, only white contributors have been recognized with nominations.One key exception is Alejandro González Iñárritu, who's up for Best Director for “The Revenant”.此外，在有非白人参演的被提名电影中，只有白人演员获得了提名。唯一的例外是亚利桑德罗·冈萨雷斯·伊纳里多，他凭借《还魂者》获得本届奥斯卡最佳导演提名。
第四篇：娱乐美联英语 奥斯卡颁奖夜使劲洗白
小编给你一个美联英语官方免费试听课申请链接： http://m.meten.com/test/waijiao.aspx?tid=16-73675-0
美联英语提供：娱乐英语 奥斯卡颁奖夜使劲洗白
Chris Rock Takes Aim and Spotlight Wins Best Picture Tom McCarthy’s “Spotlight,” a newspaper drama about the Catholic Church cover-up of sexual abuse by priests, snatched top honors at the 88th Academy Awards on Sunday, even as Leonardo DiCaprio won the best actor prize, his first Oscar, for “The Revenant” and Alejandro G.Iñárritu was named best director for the same film.洛杉矶――汤姆·麦卡锡(Tom McCarthy)的《聚焦》(Spotlight)是一部新闻情节剧，讲述天主教会掩护许多神父的性侵行为，周日它在第88届奥斯卡奖上获得了诸多最高荣誉，此外莱昂纳多·迪卡普里奥(Leonardo DiCaprio)凭借《荒野猎人》(The Revenant)中的表现，首次获得最佳演员奖，该片导演亚历桑德罗·G·伊纳里多(Alejandro G.Iñárritu)获得最佳导演奖。
Michael Sugar, a “Spotlight” producer, said he hoped the win would “resonate all the way to the Vatican.” He added, “Pope Francis, it’s time to protect the children.”
《聚焦》制片迈克尔·舒格(Michael Sugar)说，希望该片获奖可以“引起梵蒂冈的反应”。他又补充，“方济各教皇(Pope Francis)，现在是时候保护孩子们了。”
It was one of several causes promoted during the night at a ceremony that became a raucous diversity lesson under the guidance of the host, Chris Rock.在主持人克里斯·洛克(Chris Rock)的主导下，当晚的颁奖礼成了关于多样化的喧嚣一课，舒格的发言也是其中的一部分。
Mr.Sugar spoke while accepting an award that to many had seemed pointed toward “The Revenant.”
舒格在做获奖致辞时说了这番话，不少人认为这个奖项本应属于《荒野猎人》。
The split in top prizes capped a chaotic year in which “Spotlight,” seen as a front-runner after its debut in a string of September festivals, watched competitors win key awards from the producers guild, the directors guild and the British film academy.最高奖项的归属为这个喧嚣的年份一锤定音，《聚焦》自从去年九月在一系列电影节上映后就一直领跑，却只能看着竞争对手们获得制片人工会、导演工会和英国电影学院的关键奖项。
But voters from the Academy of Motion Picture Arts and Sciences embraced the confusion, honoring “Spotlight” as the best picture, while spreading its acting awards among four films.Brie Larson was named best actress for “Room”;Alicia Vikander was named best supporting actress for “The Danish Girl”;and Mark Rylance was best supporting actor for “Bridge of Spies.”
但是电影艺术与科学学院的投票者们也同样感染了这种困惑，它将最佳影片奖授予《聚焦》，同时将最佳表演奖分授四部影片。布丽·拉森(Brie Larson)凭借《房间》(Room)获得最佳女主角奖，艾丽西亚·维坎德(Alicia Vikander)凭借《丹麦女孩》(The Danish Girl)获得最佳女配角奖，马克·里朗斯(Mark Rylance)凭《间谍之桥》(Bridge of Spies)获得最佳男配角奖。
Mr.DiCaprio, who had long been considered a lock for his performance as Hugh Glass, a real-life frontiersman left for dead, in “The Revenant,” seemed to be the main event, however.迪卡普里奥在《荒野猎人》中饰演休·格拉斯(Hugh Glass)，这是一个现实生活中存在的拓荒者，长期以来，凭借他的表演，他被视为锁定了这一奖项，他领奖时仿佛是该颁奖礼最重要的环节。
“Making ‘The Revenant’ was about man’s relationship to the natural
world,” Mr.DiCaprio said, adding a political theme that was matched, if not one-upped, by others as the night moved on.“《荒野猎人》讲的是一个男人与自然世界之间的关系，”迪卡普里奥说道，并且还补充了一个就算未能更胜一筹，但却也同当晚其他话题相称的政治观点。
“Climate change is real, it is happening right now,” Mr.DiCaprio said.“全球气候变暖是真实的，它现在正在发生，”迪卡普里奥说。
He also paid tribute to Mr.Iñárritu, who in turn played a diversity theme that dominated the night.他还向导演伊纳里多致敬，伊纳里多也是今晚多样化主题的一部分。
What an opportunity, he said, to “make sure for once and forever that the color of the skin become as irrelevant as the length of our hair,” said Mr.Iñárritu, who is from Mexico.伊纳里多在墨西哥发言说，这是一个很好的机会，“从此确保人们的肤色和头发的长度一样无关紧要。”
While Hollywood may have owed Mr.DiCaprio one after four prior acting nominations, including those for “The Aviator” and “The Wolf of Wall Street,” it apparently figured his prize and the directing award for Mr.Iñárritu were enough.此前好莱坞或许已经欠了迪卡普里奥四个最佳表演奖，包括他在影片《飞行家》(The Aviator)与《华尔街之狼》(The Wolf of Wall Street)中的表现，这一次，似乎授予他最佳男主角奖，并授予伊纳里多最佳导演奖已经足够。
A best picture trophy for “The Revenant” would have made Mr.Iñárritu, whose “Birdman” was best picture last year, the first director in Oscar history to direct back-to-back winners.In fact, he was only the third, after John Ford and Joseph L.Mankiewicz, to win consecutive directing awards.去年，伊纳里多的《鸟人》(Birdman)就获得了最佳影片奖，如果《荒野猎人》再次获得最佳电影奖，将会令伊纳里多成为奥斯卡历史上第一个蝉联最佳影片奖的导演。事实上，他是第三个连续获得最佳导演奖的人，前两位是约翰·福特(John Ford)与约瑟夫·L·曼凯维奇(Joseph L.Mankiewicz)。
Ms.Larson, as was widely expected, won the best actress award, her first Oscar, for “Room.” Her performance as a mother kept captive with her young son by a sexual predator was extraordinary, in that much of it was confined to a tiny room.拉森凭借《房间》一片，众望所归地首次获得最佳女主角奖。她在片中饰演一个与年幼的儿子被性侵者绑架的母亲，主要戏份都发生在一个狭小的房间，她的演出非常精彩。
The earlier awards had gone to a scattershot group of films that was dominated by a run of six craft awards for the brutal action fable “Mad Max: Fury Road.”
更早时颁发的奖项被授予多部电影，其中残暴的动作寓言片《疯狂的麦克斯4：狂暴之路》(Mad Max: Fury Road)获得六个技术奖项。
That had left only one early Oscar, for cinematography, to “The Revenant,” a supposed front-runner.Other winners included “The Danish Girl,” “The Big Short,” “Bridge of Spies,” “Ex Machina” and “Inside Out.”
在较早颁发的奖项中，《荒野猎人》只获得一项最佳摄影奖，它被视为该奖项的领跑者。其他获奖影片还包括《丹麦女孩》、《大空头》(The Big Short)、《间谍之桥》、《机械姬》(Ex Machina)和《头脑特工队》(Inside Out)。
Until the surprising finish, it seemed as if little attention would be paid to the movies.The limelight, at least in the early hours, was squarely on Mr.Rock and prickly questions of race in Hollywood.直到令人惊讶的最后结尾，颁奖礼都没有对电影表现出太多重视。至少是在一开始，众人的目光全都集中在洛克身上，以及他对好莱坞的种族问题的辛辣提问上。
“If they nominated hosts, I wouldn’t even get the job,” Mr.Rock snapped as the show opened.“如果他们给主持人也提名，那我就得不到这份工作了，”洛克用这样一句话给颁奖礼开了场。
In a politically contentious year, Mr.Rock, the evening’s host, took the only safe course: He unloaded on everyone.今年是政治上非常有争议的一年，主持人洛克采取了安全的策略，他讽刺每一个人。
“Jada boycotting the Oscars is like me boycotting Rihanna’s panties,” Mr.Rock said, “I wasn’t invited!”
“贾达抵制奥斯卡就像我抵制跟蕾哈娜(Rihanna)上床一样，”洛克说，“反正我也没接到邀请！”
It was a jab at Jada Pinkett Smith, and at those who had called for a boycott, because the Oscar acting nominees, for the second consecutive year, were all white.他讽刺的是贾达·萍克特·史密斯(Jada Pinkett Smith)，以及其他呼吁抵制奥斯卡的人，因为本届奥斯卡奖所有表演奖项的提名者和去年一样，都是白人。
In the end, Mr.Rock spent virtually the whole monologue on the subject of diversity, mostly spoofing it but occasionally adding more biting commentary, as when he quipped that the annual “In Memoriam” tribute would honor black people who were “shot by the cops on their way to the movies.”
最后，洛克就多样化问题发表了长篇大论，主要是讽刺，偶尔也有辛辣的评论，比如他嘲讽说，的“纪念”奖项应该奖给那些“在看电影路上被警察开枪打死”的黑人们。
Moving on to the awards, he said, “You want diversity? We got diversity.Please welcome Emily Blunt and somebody whiter, Charlize Theron,” and the two actresses appeared to present the night’s first award, for best original screenplay.至于奥斯卡奖，他说，“你们想要多样化？我们有多样化。有请艾米丽·布朗特(Emily Blunt)和更白的查理兹·塞隆(Charlize Theron)，”两位女演员上台后，颁发了当晚的第一个奖项：最佳原创剧本。
Thirty minutes into the show, Mr.Rock was still hitting the diversity theme, hard.He introduced a skit that had Whoopi Goldberg and others trying to edge their way
into acting roles reserved for whites.Ms.Goldberg swished a mop next to Jennifer Lawrence in a scene supposedly from “Joy.” In another spoof, Jeff Daniels declined to spend $2,500 to save a stranded black astronaut, played by Mr.Rock, on Mars, in a takeoff on “The Martian.”
颁奖礼进行到第30分钟，洛克仍然在猛烈抨击缺乏多样性这个问题。他推出一个讽刺小品，让乌比·哥德堡(Whoopi Goldberg)和其他人拼命挤进那些只为白人预留的角色中去。哥德堡站在詹妮弗·劳伦斯(Jennifer Lawrence)旁边，甩着拖把，好像是《奋斗的乔伊》(Joy)里的一幕。在另一个讽刺小品里，杰夫·丹尼尔斯(Jeff Daniels)拒绝付2500美元拯救一个由洛克饰演的滞留火星的黑人宇航员，这一幕是从《火星救援》里来的。
Ms.Goldberg was back later to introduce a video recap of the Governors Awards, which went to Meryl Streep, Debbie Reynolds, and Spike Lee.“It’s easier to be president of the United States as a black person than be head of a studio,” Mr.Lee had said then.Cheryl Boone Isaacs, the academy’s president, immediately followed Ms.Goldberg with a diversity lecture.哥德堡后来介绍了一段来自理事会奖(Governors Awards)的剪辑录像，这个奖授予了梅丽尔·斯特里普(Meryl Streep)、黛比·雷诺兹(Debbie Reynolds)和斯派克·李(Spike Lee)。“黑人要当上制片公司老大，比当美国总统还难，”李说。学院主席谢丽尔·布恩·艾萨克斯(Cheryl Boone Isaacs)紧接哥德堡之后，做了一番关于多样化的言说。
“It’s not enough to just listen and agree,” Ms.Isaacs said.“We must take action.”
“光是听着表示赞同还不够，”艾萨克斯说，“我们必须采取行动。”
A question that would not be answered until Monday is whether the “In Memoriam” sequence would keep its traditional spot as a ratings high-point of the evening.Those remembered included Jerry Weintraub, Maureen O’Hara, Omar Sharif, David Bowie, Leonard Nimoy and Wes Craven.有个问题直到星期一都未能揭晓，那就是“纪念”环节是否会和往常一样，成为整晚的高潮。此次纪念的人包括杰瑞·温特劳布(Jerry Weintraub)、玛琳·奥哈拉(Maureen O’Hara)、奥玛·沙里夫(Omar Sharif)、大卫·鲍伊(David Bowie)、伦纳德·尼莫伊(Leonard Nimoy)和韦斯·克雷文(Wes Craven)。
For the most part, they were as white as the evening’s presenters were black.At the same time, they represented the academy’s past, while Ms.Isaacs promised that new processes and rules would create a different, more inclusive future.他们都是白人，而今晚的表演者们大都是黑人。与此同时，他们代表了奥斯卡学院的过去，正如艾萨克斯承诺的，新的流程和规则将会作出改变，带来更加兼容并蓄的未来。
As the evening wore on, the causes began to stack up.Vice President Joseph R.Biden added yet another when he showed to introduce Lady Gaga’s performance of “Til It Happens to You,” from “The Hunting Ground,” a documentary about campus sexual assault.“I really mean this, take the pledge,” Mr.Biden urged, as he begged attention for that issue, as Mr.McCarthy, of “Spotlight,” and Mr.McKay, of “The Big Short,” had urged attention for theirs.当晚随着颁奖的继续进行，话题还在走向严肃。副总统约瑟夫·R·拜登(President Joseph R.Biden)也做出了贡献，他登台介绍Lady Gaga表演关于校园性侵的纪录片《狩猎场》(The Hunting Ground)中的歌曲《直到这在你身上发生》(Til It Happens to You)。“我是认真的，抓住机会，”拜登请人们关注这个话题，此外《聚焦》中的麦卡锡先生与《大空头》中的麦凯(McKay)先生也呼吁人们关注自己的影片中所提出的问题。
The original song Oscar went instead to “Writing’s on the Wall” from “Spectre.” It wasn’t a political award, but Sam Smith, one of the composers, dedicated his Oscar to the L.G.B.T.communities around the world.奥斯卡最佳原创歌曲由《007：幽灵党》(Spectre)中的歌曲《墙上的字迹》(Writing’s on the Wall)获得，这并不是一个政治化的奖项，但这首歌作曲者之一的山姆·史密斯(Sam Smith)把自己的奥斯卡奖献给全世界的L.G.B.T群体。
Ms.Vikander’s win, as best supporting actress for “The Danish Girl,” was the
night’s first acting award.Ms.Vikander, a Swede who lives in London, underscored the international quality of the nominated actors.For only the second time since the 1960s, fully half of the 20 acting nominees were not just white, but from countries that belong to the Commonwealth.维坎德凭《丹麦女孩》中饰演的角色获得了最佳女配角奖，这是当晚颁发的第一个表演类奖项。维坎德是居住在伦敦的瑞典人，这强调了提名演员的国际化特征。奥斯卡奖的最佳表演奖提名中，全部获得提名的20名演员不仅全是白人，而且有整整一半都来自英联邦，自从60年代以来，这还是第二次。
Mr.Rylance won the best supporting actor for “Bridge of Spies.” He, too, hails from London, but played a Soviet spy — that ethnic twist was a tribute to the craft of those Commonwealth players, who spoke more about the challenges of performance than the politics of casting.“It’s a wonderful time to be an actor, thank you,” said Mr.Rylance.里朗斯凭《间谍之桥》中的表演获得了最佳男配角奖。他也从伦敦做了发言，里朗斯在片中饰演一个苏联间谍，擅长民族性格上的扭转是英国演员的特征之一，但他更热衷谈论表演上的挑战，而不是选角政治方面的问题。他说，“这是身为演员的好时代，谢谢。”
The best foreign language film, “Son of Saul,” a Holocaust film from Hungary.The win, widely expected, was another reminder that the movie culture is
international, and the woes it examines are larger, even, than racial concerns in the United States.最佳外语片获得者是反映匈牙利纳粹大屠杀的《索尔之子》(Son of Saul)。它的获奖也是众望所归，提醒人们电影文化属于整个世界，它所表达的哀伤甚至大于美国的种族忧患。
Six early wins for “Mad Max: Fury Road” — for costume design, production design, editing, sound editing, sound mixing and makeup and hairstyling — soon signaled that the evening would be an uphill climb for “The Revenant.” That film had been in the running for those same Oscars.But the string of wins brought tribute after tribute not for Mr.Iñárritu, but for George Miller, the seasoned filmmaker behind the brutal, kinetic “Mad Max” series.在较早时候，《疯狂麦克斯4：狂暴之路》获得服装设计、制作设计、剪辑、声音剪辑、混音和化妆与发型六项大奖，这表明《荒野猎人》在今晚经历了一个先苦后甜的历程，因为《荒野猎人》也同时获得了这些提名。但是这一串荣誉没有属于伊纳里多，而是给了残暴、活跃的《疯狂麦克斯》系列背后的资深电影人乔治·米勒(George Miller)。
In one of the night’s oddest moments, Pixar — through its characters Woody and Buzz Lightyear from the “Toy Story” trilogy — presented itself in a best animated feature Oscar for “Inside Out.” The film, about moody characters in a girl’s brain, was filled with colors — red, blue, yellow, green and purple — but
not black.在整晚最奇怪的一个时刻之一，皮克斯公司――通过《玩具总动员》(Toy Story)三部曲中的伍迪牛仔和巴斯光年在最佳动画片环节为自己公司的《头脑总动员》颁奖。这部影片是以一个女孩头脑中的情绪为主人公，里面充满色彩——红、蓝、黄、绿、紫——但是仍然没有黑色。
In the best documentary feature category, “Amy,” about the singer Amy Winehouse, who died of substance abuse, took the award.It was a rarity among documentaries — a popular film that drew a substantial audience at the box-office for A24, and sold well in home markets.The film had edged aside “What Happened, Miss Simone?” and “Winter on Fire: Ukraine’s Fight for Freedom,” both of which had lavish campaigns from their backer, Netflix.最佳纪录片《艾米》(Amy)是关于因滥用药物去世的歌手艾米·怀恩豪斯(Amy Winehouse)的故事。它在获得最佳纪录片提名的影片中是个异数——它来自A24公司，颇受欢迎，票房不俗，在家庭影院市场也销量颇高。这部影片在同《发生什么了，西蒙妮小姐？》(What Happened, Miss Simone)和《凛冬烈火：乌克兰为自由而战》(Winter on Fire: Ukraine’s Fight for Freedom)的角逐中险胜，后两部影片都由其出品公司Netflix做过大肆宣传。
第五篇：娱乐美联英语 外媒影评《小时代4》
小编给你一个美联英语官方免费试听课申请链接： http://m.meten.com/test/waijiao.aspx?tid=16-73675-0
美联英语提供：娱乐英语 外媒影评《小时代4》
Catfights, cancer, corporate conspiracies, cosmetic surgery, Chippendale-aping striptease: true to style, Chinese novelist-turned-filmmaker Guo Jingming has thrown in everything but the kitchen sink in Tiny Times 4.0,the latest and final installment in his tetralogy of adaptations of his novels about the fluctuating friendships among four young women in modern-day Shanghai.互撕、绝症、勾心斗角、整容手术、性感美男—由小说作家转型导演的郭敬明，在《小时代4》中加入了以上所有元素，却唯独没有现实。该片是根据其作品改编的系列电影的最终一部，讲述了生活在上海的四个女孩之间动荡的友情故事。
Just like his characters, however, Guo seems to have not matured into his new artistic calling: despite being flanked by two “executive directors,” he remains completely at a loss in adapting his material to the constraints of the film medium.He simply doesn`t do structure and subtlety, as is evident in the awkwardly reshot and re-edited scenes aimed at reducing the presence of actor Kai Ko.和电影中的角色一样，郭敬明在新的艺术领域中还不够成熟：尽管有两位“执行导演”辅佐，郭敬明却在将作品改编成电影时完全迷茫了。他几乎不在影片结构和细节上做文章，这一点尤其体现在为了减少柯震东的出场而重新拍摄和剪辑的场景上。
The myriad cracks in the previous installments have largely been papered over by Guo`s near-maximalist representation of material excess.Indifference is not actually an option when confronted with something so over-the-top and in-your-face.在前几部电影中，郭敬明用最大化的物质铺陈掩盖了影片在情节上的诸多漏洞。当电影中那种极度物质化的生活铺天盖地迎面而来时，观众不可能选择无动于衷。
As for many a film series, the uninitiated need not apply.Guo doesn`t suffer newcomers gladly in his universe.And after the plethora of characters being thrown into the mix in the third filmthe labyrinthine web of relationships poses a near-impenetrable challenge for anyone beyond the diehard.和很多系列电影一样，《小时代4》并不适合新观众，郭敬明在电影中构建的世界让新观众难以适应。在该系列第三部中，人物角色则有些过剩—其中大部分都是花样美男，拥有性感发达的肌肉和眉头深锁的忧郁表情。除了资深粉丝，想要弄懂如同迷宫一般的关系网，几乎是不可能完成的挑战。
Picking up where the third film left off, 4.0 mostly revolves around the trials of
Lily(the bankable Amber Kuo), the once-rich queen bee who finds herself near financial ruin because of the debts left behind by her father.Perhaps fearing that the number-crunching might be too daunting for his target demographic, Guo has given Lily the more relatable trial of having to combat a newly diagnosed cancer.Too proud to seek solace from anyone around her, Lily sets off a chain of self-destructive events which lead to her estrangement from erstwhile best friends Lin Xiao(Mini Yang), Nan Xiang(Bea Hayden Kuo)and Ruby(Sie Yi-lin).《小时代4》延续了上一部的剧情，主要围绕对顾里（由具有票房号召力的郭采洁饰演）的审判展开，她曾经是十分富有的社交女王，但却发现由于父亲留下的债务而导致自己陷入财政危机。也许郭敬明担心对于受众来说，讲述财务上面的问题太难了，于是就为顾里安排了一个更容易让人理解的“审判”过程—她不得不面对刚刚诊断出来的癌症。由于太过自傲，不愿向周围的人需求安慰，顾里开始了一系列自我毁灭的举动，导致与曾经的好友林萧（杨幂饰）、南湘（郭碧婷饰）以及唐宛如（谢依霖饰）渐渐疏离。
As Tiny Times soars into its climactic grand finale, tragedies abound as relationships are cast asunder.Lin Xiao`s personal and private lives spiral into oblivion in quick succession;the femme fatale of the four, Nan Xiang reveals her true social-climbing colors as she eases her way into the heart of her boss(Vivian Dawson)and up the greasy corporate pole;and Ruby, the jester of the group, recoils from contact with anyone else as she struggles to recover from the disfiguring aftermath of her falling out with her friends.《小时代》系列影片迎来了最后的高潮，多数角色最后都四分五裂，以悲剧收场。林萧的个人私生活在一系列快镜头中淡出我们的视线，心机美人南湘揭露了自己不断往上爬的真实角色，她为了获得老板宫洺的心而费尽心机铺路，唐宛如，四人组中的搞笑角色，尽管极力想与众人重修于好，然而最后却变得不再敢与任何人联系。
Probably more at ease unveiling his intertwining storylines across wide swathes of space in print, Guo struggles to pace his plotlines.Rather than offering a script in which characters are sketched out of small but revealing and symbolic gestures, he has instead hedged his bets on pretty faces striking poses which try and fail to signify sadness.Tiny Times 4.0 is an anti-climax that brings an erstwhile controversial and cacophonous cinematic juggernaut to a whimpering close.也许，郭敬明在小说中可以大篇幅地轻松讲述这些错综复杂的故事，但是在电影中显然就十分费力了。他在剧本里没有为演员安排那些细小但却揭示人物个性的肢体语言，却把赌注下在让俊男美女摆姿势上，却最终也没有传达出影片的伤感情绪。《小时代4》是一部反高潮的电影，将前作的种种争议与尖锐的评论，引向了一个冷冷清清的悲悯结局。
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