第一篇：影视美联英语 上海电影节 开放市场浪潮中保护本土电影
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美联英语提供：影视英语 上海电影节 开放市场浪潮中保护本土电影
SHANGHAI — The Shanghai International Film Festival may have played only a minor role in the blockbuster success of “Transformers: Age of Extinction” in China last year.The film, which earned what was then a record $319 million after debuting as the closing film at the festival, was already guaranteed a certain degree of success, given the history of its franchise in China.But its opening here raised the international profile of a festival that has established itself as one of the most prominent events of its kind in the region.上海——对于《变形金刚4：绝迹重生》(Transformers: Age of Extinction)去年在中国取得的巨大成功，上海国际电影节也许只起到了很小的作用。作为闭幕影片在上海电影节首映后，《变形金刚4：绝迹重生》收获了创纪录的19.7亿元人民币的票房收入。鉴于这一系列电影在中国过去的表现，它本就基本注定会取得成功。不过，上海国际电影节在逐渐成为亚洲地区最重要的电影盛事之一，而《变形金刚4：绝迹重生》在此首映提升了电影节的国际影响力。
This year, organizers are opting for a lower-profile film to fill the symbolic slot.今年，主办方打算用一部较为低调的影片来承担这一象征性的荣誉。
The event, which kicked off on Saturday and runs through Sunday, opens and closes with two homegrown productions: The Chinese film “I Am Somebody,” a self-financed comedy directed by Derek Yee about the lives of the nameless extras working at the famous Hengdian World Studios near Shanghai, will make its world premiere as the opening film of the festival.The event will close with a Chinese-Russian co-production set during World War II called “Ballet in the Flames of War” and directed by Yachun Dong and Nikita Mikhalkov.The selection of the closing film follows an agreement signed last September between Russia and China intended to increase cooperation in the film domain.上海国际电影节于上周六拉开帷幕，将持续至本周日，开幕和闭幕影片均为本土出品：华语电影《我是路人甲》将作为开幕影片完成全球首映，闭幕影片则是中俄合拍片《战火中的芭蕾》。《我是路人甲》由尔冬升(Derek Yee)执导，是一部自筹资金拍摄的喜剧片，讲述籍籍无名的临时演员在离上海不远的著名影视城横店的生活。《战火中的芭蕾》则以二战为背景，由董亚春和尼基塔·米哈尔科夫(Nikita Mikhalkov)共同执导。闭幕影片的选择源于去年9月中俄两国签署的一项意在加强双方在电影方面的合作的协议。
The pivot back toward domestic productions is the latest in an ongoing struggle in China to strike a balance between opening its market to international players and protecting its relatively young film industry.Combined with Hollywood’s eagerness to get a piece of China’s massive film market, which just topped the United States market for the first time in February in terms of box office receipts, the dynamic between the two is often characterized as competitive and collaborative.中国一直力求在向国际电影开放本国市场和保护中国相对年轻的电影产业之间取得平衡，而此次电影节向本土电影的回归是追求这种平衡的最新举措。今年2月，中国市场的票房收入第一次超越了美国市场，好莱坞迫切希望能在中国巨大的电影市场中分一杯羹。这些因素加起来，使得中外电影之间通常既是竞争关系，也是合作关系。
Officials like Hu Jinjun — the director of the Shanghai Administration of Culture, Radio, Film and TV, the government agency that organizes the festival — prefer to emphasize the latter.“We believe there is no ‘PK’ relationship between the Chinese film industry and Hollywood, instead a process of mutual understanding and exchange,” said Mr.Hu in a written response to questions, using a gaming term that means to engage in combat.“In China, we admire Hollywood’s maturity and advanced film technologies, while Hollywood understands China's vast film market and rich cultural heritage.”
主办上海国际电影节的是政府机关上海市文化广播影视管理局。局长胡劲军等官员更喜欢强调双方的合作。“中国电影和好莱坞之间我认为并不存在‘PK’的关系，而是一个大家相互了解、认识的过程，”胡局长书面答复采访提问时表示，其中用到了一个意为交锋的游戏术语。“中国电影了解好莱坞的技术、成熟的工业体系，好莱坞了解中国庞大的电影市场和文化底蕴。”
Now in its 18th year, the Shanghai festival attracts stars and top industry players from the region and abroad.Jackie Chan, Fan Bingbing and Mike Tyson were among the celebrities walking the red carpet at the opening ceremony.上海电影节如今走到了第18个年头，吸引了亚洲内外的明星和业内顶级人士。开幕式上走红毯的明星包括了成龙、范冰冰和迈克·泰森(Mike Tyson)。
The events this year include 1,200 screenings of more than 300 films at 45 locations around Shanghai, China’s cosmopolitan capital.今年的电影节将在中国的时尚之都上海的45处地点展映300余部影片，场次达1200场。
“Over the years the festival has really upped its game and established itself as a leading film festival in Asia,” said David U.Lee, the chief executive of Leeding Media, a producer and distributor of films in Los Angeles and Beijing and has been attending since 2005.“上海电影节的确在逐年发展，把自己打造成亚洲地区的一个主要电影节，”李鼎传媒(Leeding Media)首席执行官李威达(David U.Lee)说。他从事电影制作和发行工作，在洛杉矶和北京两地经营，自2005年起一直前来上海参加电影节。
A diverse slate of 14 films has been selected to compete for the Golden Goblet Award, the festival’s highest prize, out of a record 2,096 films from 108 countries submitted for various competitions.In past years, the festival has had difficulty attracting top-quality films.Because it is in the highest category of 15 festivals accredited by the International Federation of Film Producers Association, it cannot have films in its main competition that have been in the main competition of another top-category festival, including the big three events at Venice, Cannes and Berlin.有14部风格各异的影片入围今年的参赛片名单，将角逐电影节的最高殊荣金爵奖。此次有来自108个国家的2096部电影提交给主办方，希望参加不同奖项的角逐，创下了纪录。过去，上海电影节一直面临无法吸引到高质量影片的问题。这是因为上海电影节是国际
电影制片人协会(International Federation of Film Producers Association)认可的15个国际A类电影节之一，所以入围其主竞赛单元的影片不能在过去入围其他顶级电影节的主竞赛单元，其中包括威尼斯、戛纳和柏林三大电影节。
Industry veterans say the competition appears to be improving.Included among the finalists this year are Hollywood titles like Antoine Fuqua’s 2015 film “Southpaw” starring Jake Gyllenhaal as the fictional boxer Billy Hope, and David Barnz’s 2014 indie drama “Cake,” starring Jennifer Aniston as a grieving woman suffering from chronic pain.电影行业的资深人士表示，上海电影节的竞赛质量看来在提高。今年的最终入围作品包括了来自好莱坞的多部影片，比如安东尼·福奎阿(Antoine Fuqua)在今年推出的《铁拳》(Southpaw)和丹尼尔·巴尔兹(Daniel Barnz)于2014年出品的独立制作《蛋糕》。前者由杰克·吉伦哈尔饰演(Jake Gyllenhaal)虚构拳击手比利·霍普(Billy Hope)，后者则由詹妮弗·安妮斯顿(Jennifer Aniston)主演一名受慢性疼痛折磨的悲伤女子。
Prominent directors featured in the competition include Mr.Mikhalkov with his 2014 film “Sunstroke” set in Crimea during the Red Terror;the French director Pierre Jolivet with the 2015 French-Belgian thriller “The Night Watchman”;and Kiyoshi Kurosawa, who won the prize for best director at Cannes this year in the Un Certain Regard section(outside the main competition)with his 2015 romantic drama “Journey to the Shore,” which is now in the main competition at the Shanghai festival.参与角逐的著名导演包括米哈尔科夫、法国导演皮埃尔·祖利维(Pierre Jolivet)和黑泽清(Kiyoshi Kurosawa)。米哈尔科夫2014年执导的《中暑》(Sunstroke)讲述了红色恐怖
时期发生在克里米亚的故事。祖利维带来的是今年推出的法国和比利时合拍的惊悚片《守夜》(The Night Watchman)。凭借着今年的爱情电影《岸边之旅》(Journey to the Shore)，黑泽清赢得了今年戛纳电影节“一种注目”单元(Un Certain Regard)（主竞赛单元之外）的最佳导演奖。该片入围了本届上海电影节的主竞赛单元。
Other international titles include “Carte Blanche” directed by Jacek Lusinski of Poland;“The Duchess of Warsaw” by Joseph Morder of France;“Jameh Daran” by Hamid Ghotbe of Iran;and the Finnish-Lithuanian film “The Midwife” by Antti Jokinen.入围的国际电影还包括波兰导演亚采克·卢森斯基(Jacek Lusinski)执导的《女友的秘密》(Carte Blanche)；法国导演约瑟夫·莫德(Joseph Morder)的作品《华沙女公爵》(The Duchess of Warsaw)；伊朗导演哈米德·吉奥特(Hamid Ghotbe)的作品《意外的真相》(Jameh Daran)；以及由安提·乔金恩(Antti Jokinen)执导的芬兰和立陶宛的合拍片《助产士》(The Midwife)。
There are also five Asian films in the main competition.From Korea, the contenders are “Salut d’Amour,” about a middle-age man who receives an unexpected romantic proposal, by Kang Je-kyu, and “The Shameness,” a love story between a policeman and a criminal suspect, by Seung-ook Oh.From China, the competition includes “The Dead End” by Cao Baoping about three brothers who raise a young girl together and “Love in the 1980s” by Huo Jianqi about a village romance.Rounding out the 14 is the Taiwanese-China film “Where the Wind Settles,” directed by the Taiwanese director Wang Tung, about three young Chinese soldiers who escape to Taiwan at the end of the Chinese Civil War.还有五部亚洲影片进入了主竞赛单元。两部来自韩国，其中姜帝圭(Kang Je-kyu)执导的《长寿商会》(Salut d’Amour)讲述的是一名中年男子受到意想不到的感情追求的故事，吴胜旭(Seung-ook Oh)导演的《无赖汉》(Shameness)则描绘了警察与犯罪嫌疑人之间的爱情。入围的中国大陆电影包括曹保平的《烈日灼心》和霍建起的《1980年代的爱情》。前者讲述了三个兄弟共同抚养一个女孩的故事，后者则以乡村爱情为主题。还有一部是台湾导演王童的作品《对风说爱你》，其中讲述了在中国内战末期逃至台湾的三名年轻士兵的经历。
Andrey Zvyagintsev, the Russian director who with Oleg Negin won the award for best screenplay in Cannes last year for the 2014 film “Leviathan,” will head the jury for the Golden Goblet Award.Other members include the Chinese director Cai Shangjun, the Chinese actress Hao Lei, the Hong Kong filmmaker Shi Nansun, the Korean screenwriter Kim Hee-jae, the French director Philippe Muyl and Ron Yerxa, the American producer of films like “Little Miss Sunshine.”
去年与奥列格·涅金(Oleg Negin)一起凭借《利维坦》(Leviathan)获得戛纳电影节最佳编剧奖的俄罗斯导演安德烈·萨金塞夫(Andrey Zvyagintsev)将担任金爵奖评委会主席。评委会成员还包括中国导演蔡尚君、中国演员郝蕾、香港制片人施南生、韩国编剧金希才(Kim Hee-jae)、法国导演费利普·弥勒(Philippe Muyl)，以及出品了《阳光小美女》(Little Miss Sunshine)等片的美国制片人罗恩·耶克萨(Ron Yerxa)。
Outside of the main competition, cinephiles will have the rare opportunity to see films that weren’t given a domestic release or aren’t typically shown on the big screen in China.The festival will feature a Jean-Luc Godard retrospective as well as a first-ever screening in China of the six-film “Star Wars” saga.Some Hollywood
films that weren’t included in this year’s import quota of 34 foreign films also will receive screenings, like “Boyhood,” “The Theory of Everything” and “Clouds of Sils Maria.”
除了主竞赛单元，影迷们将获得难得的机会，一睹没有在国内公映或通常不会登上中国大屏幕的一些影片。本届电影节将举办让-吕克·戈达尔(Jean-Luc Godard)的回顾展，并在中国首次展映《星球大战》(Star Wars)系列的全部六部影片。中国今年引进外国影片的定额为34部，而一些没能引进的好莱坞片也将在本次电影节上获得放映，比如《少年时代》(Boyhood)、《万物理论》(The Theory of Everything)和《锡尔斯玛利亚》(Clouds of Sils Maria)。
Also this year, China and other countries are marking the 70th anniversary of the end of World War II, or as the festival calls it, the “victory in the Chinese People’s War of Resistance Against Japanese Aggression and the victory in the World Anti-Fascist War.”
中国等国家今年还会纪念二战结束70周年，或者用电影节的官方说辞，是纪念“中国人民抗日战争暨世界反法西斯战争胜利”70周年。
The festival will screen 11 films to commemorate the anniversary, including the 1957 classic about the construction of the Burma Railway, “The Bridge on the River Kwai,” and the 1979 Academy Award-winning German Film “The Tin Drum.”
在这一主题下，电影节将放映11部影片，其中包括1957年上映的讲述修建泰缅铁路故事的经典电影《桂河大桥》(The Bridge on the River Kwai)，以及1979年的奥斯卡获奖影片——德国电影《铁皮鼓》(The Tin Drum)。
China’s largest Internet companies, like Baidu, Alibaba and Tencent, have been
making major inroads into the entertainment industry, and the festival’s forum series this year will discuss the impact of this trend.百度、阿里巴巴和腾讯等中国网络业巨头均在大举进军娱乐业，而今年电影节的系列论坛将会讨论这一趋势的影响。
Several of the talks will also explore how Internet literature is becoming a source of inspiration for films, as well as the proliferation of Internet films, or films created specifically for the online market.其中一些讨论还将探讨网络文学如何成为电影灵感源泉的话题，以及网络电影或为网络市场特别创作的影片大幅增加的现象。
“As the online and movie realms become increasingly integrated, we want to create an Internet-oriented film festival,” Mr.Hu Jinjun said.胡劲军表示，“在互联网和电影深度融合的大背景下，我们就要打造具有互联网思维的电影节。”
The festival has already begun moving in that direction.In March, it announced a three-year strategic partnership with the e-commerce behemoth Alibaba.The festival will integrate services like Yulebao, Alibaba’s crowdfunding-like service, and Taobao Dianying, which will serve as its official ticketing platform.Other corporate partners include the Internet giants Tencent and Youku.上海国际电影节已经开始朝这个方向发展。今年3月，主办方宣布与电商巨头阿里巴巴签订三年协议，达成战略伙伴关系。电影节将融合娱乐宝——阿里巴巴的众筹服务——和淘宝电影等服务，而且后者将成为电影节的官方售票平台。其他合作公司还包括网络巨头腾讯和优酷。
One issue that continues to inspire debate at the festival and beyond is the foreign import film quota, one of the strongest policies that China has in place to shield the film industry.The quota, which allows 34 films to be imported on a revenue-sharing basis, is expected to be raised in 2017 or 2018, possibly to 44 films, according to The Hollywood Reporter.在电影节内外持续引发热议的一个话题是进口影片的配额。这是中国采取的保护电影产业的最强有力的政策之一。在票房收入分成的前提下，中国目前允许引进34部外国影片。《好莱坞报道》(The Hollywood Reporter)透露，中国可能会在2017年或2018年将这一配额增至44部。
While Hollywood has long pushed for the complete opening of the Chinese film market, China’s protectionist mentality is understandable, said Mr.Lee, the American-based producer, who has consulted on many United States-China co-production arrangements.在美国工作的制片人李威达表示，虽然好莱坞一直以来在敦促中国完全开放电影市场，但中国的这种保护主义心态是可以理解的。他担任过很多中美合拍片的顾问。
“You want an industry to have the chance to find its own voice before you open the floodgates,” he said.“你会想让这个产业在打开闸门前，有机会找到自己的声音，”李威达。
第二篇：影视美联英语 宫崎骏 真的要退休了吗
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 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。
第三篇：影视美联英语 有种青春叫不愿将就
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 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。
第四篇：影视美联英语 泰勒斯威夫特向乡村音乐告别
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 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 广电总局没有犯罪的中国犯罪片
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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
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