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）

第一篇：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

第二篇：影视美联英语 《神探夏洛克》为BBC创收巨额利润

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 《神探夏洛克》为BBC创收巨额利润

In a curious twist, neither Holmes nor Watson was present to collect the record haul of seven Emmy awards won by the hit BBC series Sherlock in Los Angeles on Monday night.本届艾美奖(Emmy Awards)上，英国广播公司(BBC)的热播系列剧《神探夏洛克》(Sherlock)一举斩获破纪录的7项大奖，奇怪的是，无论是“福尔摩斯”还是“华生”，都没有出席周一晚上在洛杉矶举行的颁奖典礼。

However, solving the mystery of their no-show was not quite a “three pipe problem” the Deerstalker-wearing detective would normally have to solve.The critics had considered British stars of the show Benedict Cumberbatch and Martin Freeman to be outliers for the awards.不过，他们为什么没有现身的谜案，并不是那位带着猎鹿帽的神探通常需要面对的“要抽足三斗烟才能解决的问题”。评论人士此前就认为该剧集中的英国明星本尼迪克特•康伯巴奇(Benedict Cumberbatch)和马丁•弗里曼(Martin Freeman)是艾美奖的局外人。

《神探夏洛克》为BBC创收.jpg

The surprise victory for them, and for a series produced on a fraction of the budget of big US TV dramas that dominate the event, highlights the financial boost

that Sherlock has provided for the BBC.It said last month that the series is now its most lucrative export, licensed to 224 territories worldwide – more than any other programme.他们两人意外获奖，以及这部仅用大型美剧预算一小部分的成本制作的系列剧成为艾美奖的最大赢家，凸显出《神探夏洛克》如何成了BBC的摇钱树。BBC上月表示，该剧集现在是其利润最丰厚的出口节目，BBC共授权了224个国家播放该剧，这比其他任何节目都多。

Revealing that filming of the fourth series of Sherlock will begin in January, the head of BBC drama said he expects this series to outstrip the success of even the third, promising viewers around the world a “shocking” plot twist which was revealed to the lead actors in a secret meeting a month ago.BBC电视剧负责人透露，《神探夏洛克》第四季将于明年1月开始拍摄，他期待这一季超越第三季的成功，并许诺世界各地的观众将会看到“震撼”的剧情转折。在一个月前的一次秘密会议上，剧情已经透露给主演。

Winning gongs respectively for outstanding lead actor and supporting actor in a mini series or movie, Sherlock’s co-creator Steven Moffat also picked up the best writer trophy at the 66th annual Emmy Awards.Four technical awards took the total haul to seven, one more than the night’s other big winner, the US crime drama series Breaking Bad.在第66届艾美奖上，《神探夏洛克》不仅分获最佳迷你剧/电影男主角和最佳迷你剧/电影男配角，其主创之一史蒂文•莫法特(Steven Moffat)还荣获最佳编剧奖。此外该

剧还获得4项技术奖项，使最终获奖数达到7项，比当晚另一个大赢家，美国犯罪剧《绝命毒师》(Breaking Bad)还多一项。

The three Emmys were all in recognition of His Last Vow, the final episode from the third series, first aired on UK screens in January.A contemporary reworking of Sir Arthur Conan Doyle’s The Adventures of Charles Augustus Milverton, the society blackmailer of his 1904 tale is transformed into a treacherous newspaper magnate, Charles Augustus Magnussen, played by Lars Mikkelsen.三项非技术奖项都是针对今年1月在英国首播的第三季最后一集“他最后的誓言”(His Last Vow)颁发的。这一集将阿瑟•柯南•道尔(Arthur Conan Doyle)的《米尔沃顿》(The Adventures of Charles Augustus Milverton)改编为现代背景的故事，1904年原版故事中的敲诈者被改写为奸诈的报业巨头查尔斯•奥古斯塔斯•玛格努森(Charles Augustus Magnussen)，由拉斯•米科尔森(Lars Mikkelsen)饰演。

“Sherlock is our best-selling programme, and won more awards than any other programme last night at a fraction of the cost of the American shows,” said Ben Stephenson, controller of BBC drama.“《神探夏洛克》是我们最畅销的节目，只用美剧一小部分的成本就在昨晚斩获了比其他任何节目更多的奖项，”BBC电视剧财务主管本•斯蒂芬森(Ben Stephenson)说。

He said the majority of BBC Worldwide’s profits are driven by the export of just four programmes – Sherlock, Dr Who, Top Gear and Dancing with the Stars(the US name for Strictly Come Dancing).他说，BBC环球公司(BBC Worldwide)的绝大部分盈利来自于出口4部节目——《神探夏洛克》、《神秘博士》(Dr Who)、《颠覆拍档》(Top Gear)和《星随舞动》（美国版

名为“Dancing with the Stars”，英国本土版名为“Strictly Come Dancing”）。

Financial results for the broadcaster’s commercial arm last month revealed that BBC Worldwide had generated profits of £174m to be returned to the BBC, an 11 per cent rise on the previous year, and equivalent to 10 per cent of the annual content funding budget for BBC TV programmes.BBC的商业部门上月报告的财务结果表明，BBC环球公司为BBC贡献了1.74亿英镑的利润回报，与上年相比增加了11%，相当于BBC电视节目内容资金预算的10%。

Conceding that Sherlock has made a “huge amount of money” for the broadcaster(the BBC will not break down specific revenues per show), Mr Stephenson was initially surprised at the rapturous reception the show received in America, where it is licensed to the channel PBS.斯蒂芬森承认《神探夏洛克》为BBC带来了“巨额收入”（BBC并不将每个节目的收入分开）。最初，他为这部剧集在美国受到的热捧感到惊讶，BBC将该剧授权给美国公共广播电视公司(PBS)的频道播放。

“In the US, the assumption is you have to make 12 or 24 episodes,” he said.“Sherlock has made nine episodes over the course of three years, yet it’s been such a big hit.Ultimately, it comes down to amazing creativity – whatever its shape or size, creativity does drive commerciality.”

“在美国，一般来说你得制作12集或者24集，”他说，“《神探夏洛克》在3年中制作了9集，然而它成为了一部大热剧集。最终，这归结为惊人的创意——不管形式和规模如何，创意能带动商机。”

Last month, it was revealed that BBC Worldwide is in talks to sell a near-50 per

cent stake in its flagship BBC America channel to US television group AMC Networks – the home of Breaking Bad – as it seeks the financial power to compete with high-end drama rivals such as HBO and Netflix.上月，据报BBC环球公司正商谈将其王牌BBC美国(BBC America)频道的近50%股份卖给美国电视集团AMC Networks，也就是《绝命毒师》的制作者。BBC环球此举是为了提高资金实力以与高端电视剧领域的对手HBO和Netflix等竞争。

Nevertheless, Sherlock’s global success has broken many records.The BBC says the third series – where Mr Cumberbatch’s detective miraculously returns to sleuthing after seemingly plunging to his death from the roof of Bart’s Hospital at the end of series two – has received more than 70m hits on the Chinese digital platform Youku.不管怎样，《神探夏洛克》在全球范围内取得的成功打破了许多项纪录。BBC称，第三季在中国的在线平台优酷(Youku)上的点击超过了7000万次。康伯巴奇饰演的夏洛克在第二季末尾似乎从圣巴塞洛缪医院(St Bartholomew's Hospital，简称Bart's Hospital)楼顶跳下身亡，第三季则讲述了夏洛克奇迹般地回归侦探生涯。

The DVD of the third series received the most pre-orders ever for a BBC series yet to be broadcast – at a time when the format is dying – and the final episode was the most tweeted about television programme when it was first aired on UK screens.第三季的DVD获得了未播出的BBC剧集中最多的预定，而这种视频格式其实已经快要淡出人们的视野了。第三季最后一集在英国电视上首播时成为了Twitter上讨论最多的电视节目。

Fans around the world are waiting with breathless anticipation for series four, and screenwriter Mr Moffat revealed he had a “devastating” plan for the next instalment.全世界的粉丝都在屏气凝神地期待着第四季，编剧莫法特透露，对于下一季，他有一个“毁灭性”的计划。

“We’ve practically reduced our cast to tears by telling them the plan,” he said in an interview after the awards ceremony on Monday night.“我们告诉了演员们这个计划，几乎使他们落泪了，”他在周一颁奖仪式之后的采访中说道。

Mr Stephenson said: “This is not hyperbole.” He confirmed that the BBC will film a “special with a big twist” in January, followed by a three-part series filmed in 2015, with no fixed date for broadcast.斯蒂芬森说：“这不是夸张。”他证实BBC会在明年1月拍摄一部“具有重大转折的特别篇”，此后会在2015年开拍第四季的三集，播出时间还不确定。

“Steven sat down with Martin [Freeman] and Benedict [Cumberbatch] a month ago and took them through what the plans are [for series four].It’s impossible to guess what’s going to happen.They are being very bold and brave.There are twists and turns, as you would expect.But it is shocking.”

“一个月前史蒂文和马丁（弗里曼）以及本尼迪克特（康伯巴奇）坐下来，向他们说明了（第四季的）计划是什么。不可能猜到会发生什么。他们非常大胆无畏。就像你预料到的，会有曲折。但情节很震撼。”

He said he was confident that sales of this series would eclipse the success that

series three has enjoyed.他说他有信心第四季的销量会超越第三季的成功。

“The amazing thing about Sherlock is that every time we’ve done it, sales and ratings have gone up,” he added.“We sold to 224 countries last year, and I think that will continue to rise.Obviously there are only so many countries in the world, but maybe we’ll start selling it to the aliens next.”

“《神探夏洛克》的一个惊人之处在于每次我们完成一季，销量和评级都会上升，”他补充道，“我们去年把剧集卖给了224个国家，我认为这个数字还会继续上升。显然这个世界只有这么多的国家，也许我们以后可以开始卖给外星人了。”

第三篇：影视美联英语 神探夏洛克圣诞篇双语预告 卷福直了

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美联英语提供：影视英语 神探夏洛克圣诞篇双语预告 卷福直了

Viewers in the U.S.will be able to watch the episode in select movie theaters。

美国观众有福了，在特定的影院将能观看到《神探夏洛克》圣诞特辑。

Showrunner Steven Moffat was met with cheers when he promised Sherlock fans that they would be returning to 221B Baker Street this Christmas and premiered the first footage from the special Victorian episode of the show at San Diego Comic-Con on Thursday。

上周四举办的圣迭戈动漫展上，该剧制作人史蒂文·莫法特播放了首段预告片，在该特辑中，卷福和华生将“穿越”回到原作小说中100多年前的维多利亚时代，平行世界的221B 贝克街，此举受到了影迷的热烈欢呼。

The special will play in select movie theaters in the U.S.this December, Moffat revealed。

莫法特透露，《神探夏洛克》圣诞特辑将于12月在美国特定影院上映。

The self-aware clip—which played after cast members like Benedict Cumberbatch apologized in a video for not being able to make the convention—acknowledged Cumberbatch and Martin Freeman’s long absence from the small screen.(The last episode of season three aired in January 2014.)在此次的动漫展上莫法特还为影迷播放了一段小视频。视频中本尼迪克特·康伯巴奇为

不能前来参展站台表示了歉意。卷福和花生已经离开小荧幕有好长一段时间了。(《神探夏洛克》第三季最后一集的播出是在2014年的1月份。)Cumberbatch’s Sherlock Holmes quips, “I hardly knew myself [when I would come home], Mrs.Watson.That’s the trouble with dismembered country squires, they are notoriously difficult to schedule。”

卷福俏皮说道：“ 我自己都不知道(我什么时候能回来)，哈德森太太。这就是乡绅分尸案的棘手之处，这事儿没法提前预计。”

The trailer earned laughs with its conclusion: “Coming soon…ish。” The episode will also be shown on British television over the Christmas season。

这个预告片在其片尾处收获了影迷们的笑声：“即将上映……(或许吧)” 《神探夏洛克》圣诞特辑也将英国本土上映。

Though Sherlock is based on Sir Arthur Conan Doyle’s stories, the first 10 episodes of the show have been set in modern times.The new Christmas episode, however, will take place in the “proper” Victorian era, with a few adjustments—female characters like Mrs.Hudson, for instance, will get more lines(as indicated in the Watson and Mrs.Hudson’s debate over gender politics in the trailer).The creators were so enamored with the new setting.“It’s one of the best ones we’ve made,” Moffat said。

虽然夏洛克是出自阿瑟·柯南·道尔笔下的人物，但该剧的头10集背景全都是设定在现代。然而，这一次的圣诞特辑将会发生在更“合适”的维多利亚时代，且还有一些调整—女性角色，比如说哈德森太太，将会有更多的台词(从预告片中卷福和花生在性别政治上的争辩我们就可以得到暗示)。该剧的制片人都很喜欢此次特辑中新的设定。莫法特表示：“这

是我们创作的最佳剧集之一。”

Moffat also remained tight-lipped about other aspects of the show, like whether audiences will see femme fatale Irene Adler — aka “The Woman” — again or whether a third Holmes brother will appear。

对于该剧的其他部分，莫法特还是守口如瓶。比说观众们是否还能再看到美女演员艾琳·艾德勒——即“那个女人”，又或者说会不会出现卷福的另一个兄弟。

He did admit(to the dismay of many fans)that he has not yet started writing season four of the show, which is scheduled to premiere in 2016.But he has sketched out the story that will “suckerpunch you into emotional devastation。” And he said he knows how the series will conclude。

莫法特还表示(这让剧迷们十分震惊)，他还没开始写第四季的剧本。而第四季预计于2016年回归。但他表示第四季的剧情“将会让你痛彻心扉。”莫法特还称，他知道这部剧该如何结尾。

第四篇：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。

第五篇：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。