影视美联英语 广电总局没有犯罪的中国犯罪片

第一篇：影视美联英语 广电总局没有犯罪的中国犯罪片

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美联英语提供：影视英语

广电总局:没有犯罪的中国犯罪片

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——几年前我接到一位在中国发展的导演的电话，他读了我的一部侦探小说，问我：“你能给我写一个犯罪故事的剧本吗？”然后他又说道，“麻烦的是因为要设定在北京，所以不能出现犯罪。”

广电总局：没有犯罪的中国犯罪片.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.这就是中国的剧本创作了。犯罪片不能有犯罪，鬼故事不能真有鬼，奸诈政客也不能真的奸佞邪恶。中国已经建立了庞大的电影工业，还是全球第二大市场，但是中国以外的观众很少会看到在海外播放的中国电影——如果你在影院里曾看到某个武打明星单手逼退敌人，那简直是一生难得的记忆了。究其原因，可以归结到中国的电影审查制度，以及中国政府对于电影里中国形象的极度敏感。

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.“ 如果你想在中国拍片，就必须先把情节呈交给国家新闻出版广播电影电视总局(SGAPPRFT)。广电总局乍一看好像是个监管国有媒体的机构，其实一般被当做“审查委员会”看待，是个让人闻之色变的存在。如果中国大陆以外的组织也参与其中，包括香港的合作伙伴，那么整个剧本都要呈上供大人御览。如果被批准了，这剧本也就不能再修改了，因而演员和导演不管再怎么想，也不能在拍戏过程中即兴发挥。广电总局曾发布一份“不能说”

的名单。性爱场景，以及对“酗酒、吸烟和其他坏习惯”的描绘不宜出现。“传播被动或消极的人生观、世界观和价值观”是被禁的。至于“挑起宗教或教派，信徒和非信徒之间的冲突和矛盾，破坏社会和谐”的，自然也是不许了。

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.审查委员会们会因为影片有时空穿越成分，判定它“不科学”而把剧本打回去；他们也不允许“不符合历史”的故事，因为既然是在中国，就应该都是史实。反派的种族也是个大问题。“如果涉及到跨国犯罪，反派一定不能是中国人，”一位有着25年从业经验的香港编剧说道（他请求笔者不要写出他的名字，以免进黑名单）。此外，犯罪也不可发生于中国国内，要把这片土地默认是一清二白才好。在国家机关工作的都得是好人，政府职员不能涉贪，中国也没有妓女。得到广电总局的许可还只是第一步。如果主角是个和尚，或是故事背景设在寺庙和教堂，那你还要征得国家宗教事务局的许可。如果是间谍片儿，还要让国家安全局审查。如果是警匪片，你还要得到警团所谓的文艺部的准许。鬼故事也要搞成开放式结局，往往让人有“玩我呐！”之感。2006年春，由张牧野所写的一部网络小说《鬼吹灯》取得了巨大轰动，一时间读者能以百万计。关于此书的实体出版和改编电影走向国外的相关讨论也是叫嚣尘上。然后就没了。整个计划就此搁置。在《鬼吹灯》经国家审批后的出版版本中，书中一切涉及超自然的成分都被剔除了，而没了这些，电影自然也没法拍了。

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电影都是与大陆的合拍片，而剧本自然也就不得不向广电总局的标准靠拢。“所以我们总是拍古装武侠片，或者是新中国成立以前那段时期的片子。”这位香港编剧解释道。也就是说，只要是新中国以前，展现那个时代中国大陆的阴暗面也是可以的，但要千万注意不可把那个时代描绘的太好，跟什么黄金时代似的，不然审查又是一个麻烦。在这样的条件下能写出好剧本吗？很难。有些编剧就想出了各种歪主意：曾有位导演拍了部设定在香港的犯罪片，然后称这个故事发生于1997年之前——那时香港不还是被邪恶的大英帝国统治嘛。于是就过审了。

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.” 但除了这种曲线救国般的点子，审查制度更多的时候还是扼杀了从业人员的创造力。2002年香港电影《无间道》堪称是一部扣人心弦的片子，讲述了三合会与警方相互潜伏的故事，还被好莱坞拿去拍了《无间道风云》，翻拍版还赢得了四项奥斯卡奖，包括最佳改编剧本奖。在原版电影中，出身黑帮的反英雄主角杀掉了同样来自黑帮的某人，从而避免了自己的身份被暴露。那么他是仍旧在假装，还是已经认同了他一直所扮演的顶级警官的角色呢？而在经过特地补拍的大陆版中，这份悬念就灰飞烟灭了：结局被改成了警员们怒指他是间谍，而他一言不发地上交了自己的警徽。我和中国导演合写的那个剧本，在经过多次修订之后终于变成了这样一个故事：一位意大利商人飞到北京，盗走了艺术珍宝，然后在逃跑的过程中被中国出身的高尚的警探追击。这个故事我自己都看得蛋疼，谢天谢地，它一直没被拍成电影。如今这个问题还没有解决的迹象。根据中国国有媒体新华社的报道，领导人习圌近圌平在10月份的文艺座谈会上强调道，“文艺要坚持为圌人圌民圌服圌务、为社会主义服务这个根本方向”。香港理工大学的娱乐业讲师Anthony Lee说道，“业界现在有一种声音，认为中国新任领导人的强硬态度没让事情变得更容易，反而更加艰难了。”

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，或许仍有一件事能让编剧们看到些许希望：长远来看，中国的观影大众和投资

者们总有一天会要求国际水平的影视剧本。最近在中国国内的航班上，我注意到飞机下拉屏幕上在播一部中国孤胆英雄暴打日本鬼子的电影，但是放眼望去好像一个看的人都没有。反而有不少乘客，在用便携式设备看好莱坞的电影

第二篇：影视美联英语 有种青春叫不愿将就

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美联英语提供：影视英语 有种青春叫不愿将就

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.灰姑娘式的爱情故事永远都不缺捧场的观众。正在热映的电影《何以笙箫默》就是一部现代版《灰姑娘》：男主角何以琛是一个颜值高、能力强、对爱情忠贞的律师，而他心爱的女主角赵默笙却是一个相对平凡的姑娘。

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.电影从这对恋人七年后的重逢开始讲起。七年前，何以琛（黄晓明 饰）和赵默笙（杨幂 饰）因为误会和家人的反对而分手；七年后，他们二人在超市偶遇（重启了未了的缘分）。

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.电影改编自同名网络小说。这部小说十几年来一直高居网络爱情小说各大榜单榜首，因为它描述了一段令无数女生向往的爱情。

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.”

电影版《何以笙箫默》基本忠实了原著，保留了书中的主线情节和部分对白。何以琛的经典独白：“如果世界上曾经有那个人出现过，其他人都会变成将就。而我不愿意将就”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”.制作方乐视影业表示，他们希望能“满足观众想看一段跨越时间、初心不变的纯爱故事的愿望”。

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《小时代》、《匆匆那年》、《左耳》等青春爱情片，《何以笙箫默》中并没有青春电影“必备”的欺骗、堕胎、三角恋等元素。

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，由钟汉良和唐嫣领衔主演的电视剧版《何以笙箫默》就已经掀起收视

高潮，也说明这个故事依旧有卖点。但是，电影版的导演们却过于着力于拍出新意。

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.他们给爱情故事中加入了很多幽默元素，希望可以吸引观众。许多网上的段子也出现在电影台词里，比如“别忘了吃药”。但是影片中太多的幽默段子，也让一些观众在接下来的感人场景中难以入戏。

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.为了迎合腐女文化，电影中还新添了一个角色——何律师的助理William，由韩国组合EXO前成员黄子韬（艺名：Tao）扮演。他对何律师无微不至的照顾可谓“基情满满”。

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.努力实验、敢于创新的态度本应受到支持，但是比之现在的“大杂烩”，如果只是讲述一个单纯的爱情故事，这部电影也许会更好。

第三篇：影视美联英语 宫崎骏 真的要退休了吗

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美联英语提供：影视英语 宫崎骏 真的要退休了吗? 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年的奥斯卡奖提名要到1月15日才宣布，但是毫无疑问，最优秀的电影人今年已经得到了他的奥斯卡奖杯，他发表了谦逊而又真情流露的获奖致辞后便乘飞机回到日本家中，或许从此就会退休。

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，宫崎骏在奥斯卡主席奖的典礼上获得终身成就奖，这是他第二次获得奥斯卡奖杯，第一次是在2003年，他的杰作《千与千寻的神隐》获得了最佳动画长片奖。他说了一句关于妻子的玩笑话，并且顽皮地向好莱坞资深演员玛琳·奥哈拉(Maureen O’Hara)致意，她和哈里·贝拉方特(Harry Belafonte)及法国编剧让-克劳德·卡瑞尔亦获得了主席奖

荣誉。

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.”

在这两句幽默的话语之间，宫崎骏非常严肃，他诚恳、伤感而悲哀地谈起动画片与日本的历史，这些话题令他简短的致辞有了和他的影片同样的气质。“我觉得自己非常幸运，因为我可以参与到使用纸张、铅笔和胶片制作电影的最后时代。”他借助翻译说道。“另一个幸运之处是，我的祖国在我拍电影的这50年时间里，没有战争。当然，我们从战争中获益，但我们非常幸运，可以不必亲自参与战争。”

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).宫崎骏共制作了11部动画长片，最早一部是1979年的《鲁邦三世：卡里奥斯特罗城》，这些动画的魅力是由很多因素共同造成的。它们有着纯粹的绘画之美，宫崎骏曾经当过电视和电影动画绘制的学徒，还做过漫画家，他从那时便开始发展出自己丰富的、油画般的风格。他的影片中，一系列动作有着全面而美丽的结构；赛跑和跳跃的情景令人透不过气，更有乘着老式飞机、女巫扫帚与神秘野兽的打斗场面。当然，那些野兽、神灵、怪物和常见的形象，如同一个无穷尽的小动物园，为他笔下年轻勇敢的英雄们（大部分是女英雄们）充当伙伴和敌人。

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.这些东西并不是宫崎骏所独有的，但他以前所未有的多样化与丰富性使用了这些元素。

他有非常宏大的作品：《千与千寻》是关于成长的故事、《幽灵公主》和《风之谷的娜乌西卡》则是生态寓言；还有一些作品虽然没这么深刻，但同样引人入胜，比如《魔女宅急便》和迷人的《龙猫》，这些作品全都如此令人难忘，个中原因很难说清。只要你体会到了就能明白：对基调和情感的把握体现在每个手势、表情、动作和场景里，令他的动画充满观赏性和思想性，以及毫不做作的庄重。观看宫崎骏的电影会让你感觉自己重新成了聪明好奇的孩子。

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.反观皮克斯生产的电影或亨利·塞利克(Henry Selick)导演的作品，即便是在最好的情况之下，美国儿童电影（这个类别目前已经基本上等同于动画片）也是以一种完全不同、效果也不那么好的方式去接近年轻的观众。电影工作者们在审视观众时，总是带着区别对待的观念，刻意以不同程度的趣味或努力程度，努力去娱乐他们，努力想让那些据说特别容易分心的小观众们对影片保持兴趣。

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.宫崎骏也非常重视年轻的观众，但你可以感觉到，他并不浪费时间去猜测他们想要什么。有许多导演为孩子们拍出了伟大影片，或拍出了关于孩子们的伟大影片，比如拍了《黑神驹》(The Black Stallion)的卡罗尔·巴拉德(Carroll BAllard)、拍了《ET》的史蒂文·斯皮尔伯格(Steven Spielberg)，以及拍了《小公主》(A Little Princess)和《哈利·波特与阿兹卡班的囚徒》(Harry Potter and the Prisoner of Azkaban)的阿方索·卡隆(Alfonso Cuarón)。宫崎骏和他们一样，能以孩子的视角看待世界，能直接了解到这个孩子的喜悦与不安，或许最重要的是，能够了解到她无穷无尽的好奇。

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”).他能轻易穿透横亘在年轻人与成人之间的隔膜，因此便可以为笔下童话般的情节赋予沉重的主题。在公众生活中，他曾为环境污染、核战争的危险，乃至日本近期的民族主义与军事主义倾向而大声疾呼。他的影片亦传递出同样的信息，有时可能是寓言性的，但一直都是清晰的——诸如支持环保主义的《风之谷》、《幽灵公主》和《悬崖上的金鱼姬》，以

及反战的《哈尔的移动城堡》和《起风了》。

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.不过，这些信息从来不是他的影片的核心。宫崎骏从不宣传成果，只是探索可能性。2013年，在砂田麻美重要的纪录片《梦与狂想的王国》中，宫崎骏说：“你无法描绘命运，你只能描绘意志，就算真的有命运存在。”和我们大家一样，他笔下的角色也是从一出生就拥有无穷无尽的可能性，之后他们摒弃了一个又一个的选择，塑造自己人生的形状，“选择一样东西就意味着放弃另一样东西，”他说。

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.砂田麻美在这部纪录片中深入探索了宫崎骏的人生，以及他与同事兼导师高畑勋和制作人铃木敏夫联合创建的吉卜力工作室。影片以亲切的视角拍出了他那令人放下戒备，同时又充满讽刺的幽默感；他虽然态度温和，却对年轻的动画师和技术员工们有着极高的要求，同时吸取着他们的能量。

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.当然，他对自己的要求更高。如果有人带着伤感之情，想把他描述为一个想入非非的寓言家形象，看了这部纪录片肯定会打消这种看法。砂田麻美在片中记述了他的工作方式，强调纪律到了严格控制的地步，像机器一样为动画中的魔法王国服务。当年纪是他1/3的员工们闲聊或发呆的时候，宫崎骏（周一他就74岁了）穿着画师的围裙，大步走过去，开始做下一项工作。

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，《起风了》在日本上映时，宫崎骏宣布这将是自己的最后一部动画长片，在他的奥斯卡奖获奖致辞和《梦与狂想的王国》中，有迹象表明他已经心满意足。他的影片中经常出现黑暗，但黑暗从未压倒一切，然而在他与砂田麻美谈起“被诅咒的梦想”时，这种

黑暗再度浮现出来，“我们怎么知道这些电影是有价值的？如果你真的好好去思考，它也许只是一个宏大的嗜好呢？也许过去曾经有那么一个时刻，你可以拍出真正的好电影，但是现在呢？我们的的世界充斥着垃圾。太困难了。”

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.诚然，拍出好电影很困难，需要严格的纪律与艰苦的专注，但正如他长久以来向世人所证明的，这并非不可能做到的事情。2013年，当砂田麻美拍摄宫崎骏宣布退休的新闻发布会时，他向她保证，自己希望继续工作10年。不管是拍短片也好，创作漫画书也好，抑或回归动画长片也好，他所创作的东西肯定是举足轻重的。

第四篇：影视美联英语 泰勒斯威夫特向乡村音乐告别

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美联英语提供：影视英语 泰勒斯威夫特向乡村音乐告别

For almost a decade, Taylor Swift has been waging, and winning, a war, smiling all the while.近十年来，泰勒·斯威夫特(Taylor Swift)一直都在一边作战一边微笑，而且不断取得胜利。

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.乡村音乐一直是——曾经是——她的天敌：它守旧、动作慢、充满大男子主义。她可以打破这些陈规，只凭她的出现就能让人感到不安。然而乡村乐也同样是个好客的东道主。她在这个领域几乎没有直接竞争对手，而且这个音乐类型欢迎成功者，如果有必要的话也可以带上一丝勉强。

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，乡村乐给了斯威夫特一个语境，令她成为叛逆者，也就是说，就连她最温和的歌都可以被解读为带有恶作剧的意图。从外界看来，她像是一个征服的泰坦巨人。但从内部看来，作为乡村乐中最大的明星，她永远都是某种失败者，不管唱片拿多少白金销量、奖项，都受到诅咒。

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，人们就知道她早晚有一天会抛弃乡村乐。它是一个大盒子，虽然通风良好，但毕竟是个盒子。《1989》（大机器[Big Machine]公司出品）是她的第五张专辑，也是她第一张完全没有乡村乐的专辑，它为她树立了新的敌人。

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》将于周一（2014年10月27日——编注）发行，里面有大量结构娴熟、略带中性色彩的伤心歌曲，它并没有摆出对抗的姿态。但这张给人感觉很温和的专辑有一个毫无疑问的敌人：那就是主流流行乐，《1989》与它格格不入。现代流行歌星——更确切地说，是白人流行歌星——大都是模仿黑人音乐起家的。想想麦莉·塞勒斯(Miley Cyrus)、贾斯汀·汀布莱克(Justin Timberlake)和贾斯汀·比伯(Justin Bieber)吧。在当前音乐的生态系统里，凯蒂·佩里(Katy Perry)或许是对嘻哈乐和R&B依赖最少的流行歌手，但她最近的大热歌曲里也有饶舌乐手杰西·J(Juicy J)献声，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.但斯威夫特却完全不受影响；她在这张专辑里没有做什么和她做了什么一样重要。它不是由迪普洛(Diplo)或者Mike Will Made-It制作，也没有德雷克(Drake)或皮特布尔(Pitbull)客串。她对流行音乐的概念回溯到了20世纪80年代中期，那时候流行乐还没杂交得这样厉害。这个选择令她可以纵观流行乐的全局，而不必去追逐最新的小风尚，也不会被指责为“文化盗用”。

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.斯威夫特希望置身这些争端之外，这表现在专辑首发单曲《甩掉它》(Shake It Off)的音乐录像里。这是一首活泼的歌，录像中她被各种嘻哈舞者所包围，她自己笨手笨脚地做着每个动作，后来她身周换成了普通人，他们不自觉地摇摆身体，并不是想要摆酷。

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吗？这位有可能成为今年唱片销量最高的歌手为自己写下一个故事，在其中她仍然是个局外人。在一群专家中间，她是个笨拙的人，是一群高高在上的人当中可亲的一个，是学着在大城市生活的小镇女孩。

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.在这种意义上，泰勒·斯威夫特在最近几年间做的最重大的决定和音乐没有关系：她在纽约的翠贝卡买了一处公寓，这个屋顶套房花了2000万美元。

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.这是一种蜕变，连续几年，她都处在过度膨胀的纳什维尔的顶点，再加上对她个人的兴趣，这令她和所有全球明星一样，无时无刻不处在小报的关注之下。

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.”)但这也给了她机会，让她可以再度被视为一个天真无邪的人。在纳什维尔，她学会了所有规则，所有背后的门路。现在，纳什维尔已经多少被她抛在脑后了，她可以自由自在地拍出自己想象中的约翰·休斯(John Hughes)式电影。这就是《1989》，第一首歌是《纽约欢迎你》(Welcome to New York)，这是一首轻快的歌，对于沉迷在哥谭市的自由表示一丝模糊的庆祝之意：“这儿的所有人以前都是别的人/你可以渴望你想要的人。”（作为一种宽容的姿态，这首歌比凯西·马斯格雷福斯[Kacey Musgraves]的《跟随你的箭》[Follow Your Arrow]后退了大概有十步那么远）。

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.斯威夫特并不是那种在事业发展中要问别人该做什么的人，但她长久以来始终视自己为纽约所代表的盛大名利场中的异类。“有一天我会住进一座巨大的老城市，”她在《贱》(Mean)这首歌里嘲笑一个评论家，这首歌来自她2010年的专辑《现在就说》(Speak Now)；现在她来了，纽约的聚光灯正从背后照亮她。

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.置身这个崭新的舞台，斯威夫特充满渴望。重要的是，她多少是孤单一人，并不依附当今的任何流行音乐运动。她让自己置身事外，而且，毫无疑问地是置于各种运动之上。

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.她所置身的这个流行时代是一片污秽与浪漫主义的融合，是人类与数码的融合。但斯威夫特的声音里却没有一丝颓废。她把握住这个声音，把它打磨平滑，令它熠熠生辉。这张专辑以她出生的年份命名，由她和马克斯·马丁(Max Martin)共同制作，大多数歌都是马丁与合作伙伴斯维德·谢尔巴克(Swede Shellback)合写。两人对过去十年流行音乐的面貌都有贡献，但这里值得注意的是他们的克制（马丁几乎担任了专辑中所有人声部分的制作）。斯威夫特的老伙伴内森·查普曼(Nathan Chapman)制作了《这份爱》(This Love)，这是一首

悲伤的歌谣，假如作为《饥饿游戏2：星火燎原》(Hunger Games: Catching Fire)也挺合适，这也是专辑中唯一一首可能会被认为带有乡村色彩的歌曲。

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.她的上一张专辑《红》(Red)也是向流行乐前进的一步，其中有几首向乡村乐表示挑战的歌，特别是《我知道你很棘手》(I Knew You Were Trouble)，也是马丁和谢尔巴克合作创作的。斯威夫特有很多种魅力，但并不总是擅长打破音乐类型的界限。然而《红》中的歌曲表明她比以往更乐于冒险，也清楚地知道歌迷会跟随她。

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》中却没有这种先驱者的态度，里面大都是欢快、紧张的歌曲，歌手大步走出了年轻时残余的大部分天真无邪。这张专辑里的泰勒·斯威夫特是凶猛、嘲弄、尖锐的。专辑中的佳作是《风格》(Style)，令人回忆起最早的《迈阿密风云》(Miami Vice)的原声带，全都是温暖的合成器与低沉的人声“午夜/你来带上我/没有照明灯”，她在歌曲一开头慢慢唱着。在副歌部分，她显得轻浮，但回到主歌，她又变得多疑，还有一丝凌乱。

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.” 斯威夫特经常以一种谈话式的方式唱歌，强调亲密而非力量和细微区别。但在《1989》中，她用了和之前不同的声音方式，比以往更加精心处理：在《甩掉它》里那种开车变速冲上大桥的腼腆自信在歌中蔓延着，“但我在继续巡行”这句突然把这首歌从街头混混的欢乐合唱变成了强有力的释放。还有她在《纽约欢迎你》中用甜蜜的长音唱“beat”这个字，以及在《你只需要留下》(All You Had to Do Was Stay)里不肯服从的背景合唱。

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.《最疯狂的梦》(Wildest Dreams)是一个性感黑暗的故事，唱的是危险的爱情，这首歌里她的声音有最显著的改变。在主歌里，她懒洋洋地唱着，仿佛在诱惑，要不就是刚睡醒：“我说，‘没人知道我们在干什么'/他的手放在我的头发里/她的衣服在我房间里。”然后，在过渡段，她的声音升高了八度，迸发出狂喜的诉说，之后又退回到隐蔽之中。

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”: 在这张专辑里，斯威夫特自己写的歌不像以前那样充满细节，而是以更广阔的视角看待伤心，比如《这份爱》：

Tossing, turning, struggled through the night with someone new 辗转反侧，勉强与新人读过长夜 And I could go on and on, on and on 我可以一再这样，一再这样做

Lantern, burning, flickered in my mind for only you 灯罩，燃烧，闪烁在我心里的只有你 But you were still gone, gone, gone 但你还是走了，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.这肯定是和斯威夫特与某位名人的恋情有关，但专辑的整体感觉不像她以前的专辑那样，好像写日记了。

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: 但是别分心去想这个美女唱的是谁；她唱得很欢乐，这才是重要的。听听这首聪明的《空白空间》(Blank Space)吧，这是关于斯威夫特“约会灾星”恶名的元叙事：

Saw you there and I thought 看见你在那儿我就想

Oh my God, look at that face 啊天哪，看这张脸

You look like my next mistake 你看上去就像我的下一个错误 Love's a game, want to plaaaaaay? 爱情就是游戏，想玩吗？

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.这是巅峰的斯威夫特。它既有趣又世故，强调她的力量，也强调她的一本正经。相比之下，那些听上去最不倦怠的歌，比如《你怎样得到那女孩》(How You Get the Girl)和《纽约欢迎你》是最不动人的几首。

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.斯威夫特很难再摆出天真无邪了，她太出名，太擅长自己的工作。至少可能部分是出于这个原因，专辑的附加歌曲部分收入了三首人声小样，是斯威夫特通过电话录下来的，展示她在写歌早期的片段。它们是送给迷恋者们的礼物，但也像是夸耀，炫耀自己的技能，以及她质朴的态度。《我希望你能》(I Wish You Would)展现出她怎样不控制声音地唱歌，尽管《我知道一些地方》(I Know Places)和《空白空间》(Blank Space)的歌词最终版本比起这里的版本改动了很多，但显然旋律从一开始就没怎么改动，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.还有一些歌是制作占了主导地位，比如杰克·安托诺夫（Jack Antonoff，“有趣”[Fun]乐队和“漂白者”[Bleachers]乐队）创作和制作的两首歌：《树林之外》(Out of the Woods)和《我希望你能》，它们爆发出激烈的鼓点、无常的合成器和嘶声作响的吉他；《坏血》(Bad Blood)这首歌有轰鸣的鼓声，令人想起比利·斯奎尔(Billy Squier)经常被嘻哈乐采样的那些乐段。

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.)但这些都是外围的东西，斯威夫特一向最注重旋律，如果她希望把自己交给制作人和当下流行的声音，那么她可能会尝试其他几种不同的、更明显的方式，甚至有可能留在乡村乐里，如今乡村乐和流行乐一样，都已经深受嘻哈乐影响了（在这张专辑里，歌词中分布着几个有点时尚的句子——‘恶心的节拍'、‘疯狂的爱'以及《甩掉它》的副歌，她尖声唱道“乐手要演奏，演奏，演奏，演奏/憎恨的人要去恨，恨，恨，恨，恨”——但是它们主要都是为了强调斯威夫特唱这些句子的时候有多么脱离时代）。

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.斯威夫特做的是几乎不涉及当代的流行乐，目标更为高远，就连真正的流行巨星也很少有人会去渴望这种模式——或者阿黛尔(Adele)除外，她声音的天赋就需要这样的方式。其他人都在努力让自己听上去更有当下的感觉，当下流行的声音变了，他们也得跟着变。但斯威夫特不是这样，她要展开一场新的战争，她要赢，但她永远不会承认自己在打这一仗。

第五篇：影视美联英语 夏洛克福尔摩斯 从未存在 永远流传（范文模版）

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：影视英语 夏洛克福尔摩斯 从未存在 永远流传

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·福尔摩斯：从未存在 永远流传（Sherlock Holmes: The Man Who Never Lived and Will Never Die）——这是英国伦敦博物馆正在举行的首场大型福尔摩斯展的名称。这场关于柯南·道尔（Arthur Conan Doyle）笔下虚构大侦探的展览，还向参观者还原了当时真实的伦敦城——福尔摩斯的伦敦城。本次展出的展品包括埃德加·爱伦·坡（Edgar Allan Poe）小说《莫格街谋杀案》的罕见手稿，该手稿对柯南·道尔创作出福尔摩斯这一人物起到了关键性作用。此外，一幅之前从未公开的柯南·道尔的肖像也在展品之列。而除了这些独一无二的历史宝藏，参观者们还将看到两件奇怪的现代展品：英国广播公司（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）在剧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.对那些痴迷“卷福”和《神探夏洛克》却对其原著和维多利亚文学无感的少男少女们来说，这两件戏服的诱惑无疑是巨大的。然而，这也从另一个侧面提醒我们，从书本到荧幕，福尔摩斯一直引领着社会的时尚潮流。柯南·道尔生活的那个时代，福尔摩斯的名字和肖像被用来宣传烟斗、衬衫、茶、太妃糖甚至是漱口水。如今，《时尚先生》（Esquire）、《男人装》（FHM）、《绅士季刊》（CQ）则给读者提供了夏洛克风格的绅士范穿搭指南。本次展览回溯了夏洛克风格的发展历程，研究了夏洛克风格如何在其演变发展的过程中，依然保有鲜明的维多利亚时尚元素。伦敦博物馆还委托一家苏格兰纺织厂特制出一件福尔摩斯纪念款签名花呢大衣，并同时展出了时尚摄影师卡西亚·沃兹尼亚克（Kasia Wozniak）用1890

年款便携式相机拍摄的作品。

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 “lost 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.”

夏洛克风格的时尚传奇源自柯南·道尔对服饰细节近乎苛刻的描摹。我们对福尔摩斯形象的认知几乎全都来自西德尼·佩吉特（Sidney Paget）的插图。他画笔下的福尔摩斯原型优雅、消瘦，影响了此后每一个福尔摩斯形象的创作。尽管柯南·道尔不常与读者交换意见，但他显然对福尔摩斯的形象有自己的理解。他曾对1899年舞台剧《夏洛克·福尔摩斯》海报中的夏克洛形象提出异议，称海报中的福尔摩斯看上去只有“约5英尺高”（1.524米），并且“衣着邋遢”。伦敦博物馆时尚策展人蒂莫西·朗（Timothy Long）指出，柯南·道尔在书中用了很多有关时尚的“暗语”。“现代读者在读福尔摩斯时，常会忽略那些对作者同时代读者来说显而易见的线索。比如，作者描写华生穿的是晨礼服还是长礼服，其实就已经暗示了时间。”

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·道尔对福尔摩斯服装的大篇幅描述向我们展示了“一个现代英国绅士的形象——在那个时代，大衣和猎鹿帽是英国绅士衣柜里不可缺少的元素”。而因为福尔摩斯系列故事、戏剧和电影的普及，时至今日，大家想到福尔摩斯的样子，仍不感到陌生。在各种各样的版本里，福尔摩斯的形象永恒而又兼具各个时期的时代特色。佩吉特原始插图中的福尔摩斯，19世纪30年代巴兹尔·雷斯伯恩（Basil Rathbone）版的福尔摩斯，以及如今的“卷福”版福尔摩斯——这三个迄今为止最成功的福尔摩斯形象都穿着带有各自时代特点的服饰，却又都准确无误地演绎了福尔摩斯永恒的经典。

One movie poster called Holmes “the original caped crusader.” 曾有电影海报称福尔摩斯是“披风斗士原型”。

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 “long 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.先说说福尔摩斯的大衣。小说里，福尔摩斯裹着Ulster款大衣——小领单排扣长款外套外搭长及臀部的大斗篷。柯南·道尔还提到了另一款“大衣”（也许就是同一件）以及一件“长长的灰色旅行斗篷”。随着时间的推移，这些装束赋予福尔摩斯这一人物神秘而又气派十足的超级英雄形象——1965年电影《恐怖的研究》（A Study in Terror）海报称福尔摩斯是“披风斗士的原型”（“the original caped crusader”）。雷斯伯恩（Rathbone）版福尔摩斯标志性的格子呢大衣，拥有灵活的及肘斗篷和与下颚轮廓更相称的加宽衣领，专为大荧幕重新剪裁。“卷福”的大衣则是英国品牌贝达弗（Belstaff）的成衣，其创作灵感并非源于维多利亚时代的Ulster款大衣，而是来自18世纪的大衣款式，衣领高而硬，双排扣前襟代替了斗篷，后背的收腰束带设计则使衣服显得更加大气灵活。

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，书中的福尔摩斯还带着围巾。雷斯伯恩版福尔摩斯的彩色丝绸围巾在今天看来显得近乎女性化，但它与19世纪30年代的时尚十分协调。在盖·里奇（Guy Ritchie）的蒸汽朋克电影《夏洛克·福尔摩斯》里，小罗伯特·唐尼（Robert Downey Jr）版福尔摩斯浮华的领巾是该角色唯一显示福尔摩斯身份的装束，尽管这似乎更适合2008年的布鲁克林，而非维多利亚时代的伦敦。“卷福”的蓝灰色围巾则有衬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.福尔摩斯的猎鹿帽是佩吉特在插画中首创的，柯南·道尔在书中从未提及，原著中只有“有耳遮的旅行帽”（“ear-flapped travelling cap”）的字句。顾名思义，猎鹿帽属于狩猎装束，适合户外活动。佩吉特画中的福尔摩斯只在乡村戴猎鹿帽，从不在伦敦戴。而在 雷斯伯恩和之后的各个版本中，福尔摩斯任何时候都戴着猎鹿帽，包括在室内。展览策展人亚历克斯·沃纳（Alex Werner）提醒参观者：“福尔摩斯从不狩猎，柯南·道尔只是借狩猎这一隐喻来体现福尔摩斯对真相的追求。”尽管猎鹿帽不再是英国绅士衣柜里的必备品，但它已是福尔摩斯的标志特征。“卷福”为了躲避狗仔队而戴上猎鹿帽遮脸，结果使猎鹿帽变成了他的标志（他还被戏称为“帽子侦探”）。唐尼戴的浅顶软呢帽，则保持着他的布鲁克林风格。

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.在福尔摩斯的绅士范穿着之下，隐藏着柯南·道尔所说的“不羁的灵魂”（“Bohemian soul”）。忧郁的小提琴演奏，注射可卡因引起的失眠症，都从他日常的穿着中显现出来，尤其是他的睡袍。福尔摩斯的睡袍很多，从灰褐色到新潮的紫色，伦敦博物馆目前展出的驼色睡袍是《神探夏洛克》里“卷福”所穿的颜色最为黯淡的一款。

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.福尔摩斯深知服装的力量。在维多利亚时代，人体测量学（Anthropometry）是一个合法的学科。根据人体测量学，物理特征往往反映人的性格特点，比如福尔摩斯的高前额暗示了其强大的大脑，服装也是一样。时尚策展人朗说：“在福尔摩斯思考办案线索时，服装扮演了重要角色。”不管是磨损的鞋子，还是有划痕的怀表，都逃不开福尔摩斯的火眼，衣服上最细微的细节都可能是破案的关键。福尔摩斯曾仅靠一只“非常普通的黑色帽子”就推导出完整的作案心理过程，成就了著名的“蓝宝石案”。

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.福尔摩斯的这些方法对华生来说很费解，但是对于当代时尚策展人和管理员来说却是众所周知的。朗说，“我们的方法和夏洛克很像。我们会经常查看磨损痕迹、商标、用料类型。”受福尔摩斯故事启发，朗和一群志愿者用一些能说明穿戴者身份的线索为博物馆标记

了历史服装。一双男式晚宴鞋有圆形的磨损痕迹，是跳舞的记号；一件袖子被墨水弄脏的女士衬衫让人想起了在《身份谜案》中福尔摩斯也曾用同样的方法辨认出他的客户是一名打字员。

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.福尔摩斯可以称得是一个伪装大师，他能完美演绎多种不同的个性，从老妇人到“头脑简单的新教牧师”。朗表示，福尔摩斯所用的化妆和着装技术虽源自维多利亚时代，却从不显得夸张或奇异，相反，它们非常“符合日常生活”。在《神探夏洛克》里，“卷福”已经成功地伪装过法国侍者、英国卫兵、身着连帽衫的瘾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.棱角分明的轮廓，鹰一样的侧脸，还有斗篷大衣——“卷福”几乎就是柯南·道尔原型人物的化身。而其他版本的福尔摩斯缺少观众认同感，与演员本身形象与原著形象有差距分不开，比如《基本演绎法》（Elementary）里的约翰尼·李·米勒（Jonny Lee Miller）。米勒（有点像小罗伯特·唐尼）结实且肌肉发达，更符合华生的形象，而非高而瘦福尔摩斯形象。此外，他的着装也有违人物原型。尽管宽松的双排扣外套在纽约的冬天里让人感觉格外温暖，红格子围巾也更能体现他本身所具有的气质，但他那永远皱巴巴的衬衣和不合身的上衣却透出浓浓的英格兰风格，尤其当他与典型纽约时髦范的刘玉玲（Lucy Liu）版华生站在一起时，更是对比鲜明。米勒的衬衫扣子总是一丝不苟地扣到下巴，体现了人物的强迫症倾向。在这种情况下，刘玉玲版华生的穿着风格能引起时尚博主们的注意，也就不足为奇