http://tinyurl.com/22qpf2 Jan 29, 2007《纽时周报全文精译》 外语片愈多 美国人愈不赏光 A Wealth of Foreign Films and a Dearth of Customers 张佑生译 This month the National Society of Film Critics picked its winners for 2006 — one of the last groups to do so. The announcement of the Society’s awards followed a month of frenzied balloting by various Circles and Associations, an annual festival of critical self-assertion — a protest against irrelevance, perhaps — before the big Oscar show on February 25. 「全国影评人协会」一月选出2006年年度赢家，是最後几个公布评选结果的团体 之一。这类票选是影评界一年一度自我肯定的盛事，该协会在各式各样影评人组织 与协会一个月狂热票选後公布名单，或许是赶在2月25日奥斯卡大秀前，发声表示 自己不是无关紧要。 The society’s vote stands out a bit amid all this welter because its top three choices for best picture of the year were all movies in languages other than English. The third-place finisher was Clint Eastwood’s “Letters From Iwo Jima,” which is in Japanese; the runner-up was “The Death of Mr. Lazarescu,” a Romanian film directed by Cristi Puiu; and the winner, by a narrow margin, was “Pan’s Labyrinth,” Guillermo del Toro’s tale of magic and malevolence in 1940s Spain. 全国影评人协会的票选结果，在这阵子评选混战中略显突出，因为其年度佳片前 三名都不是英语片。第三名是克林伊斯威特的《来自硫磺岛的信》，说日语； 第二名《无医可靠》是克里斯提普优执导的罗马尼亚片；以些微差距获选为年度 最佳影片的是《羊男的迷宫》，吉勒莫戴托罗叙述一个发生在1940年代西班牙的 魔幻险恶故事。 The honors bestowed on those three movies, not only by the National Society of Film Critics, might be taken as evidence that foreign films are flourishing. So might the memory of “Crouching Tiger, Hidden Dragon,” which made more than $125 million here in 2001. And the proliferating Web sites and blogs devoted to the robust, often contentious discussions of movies from all over will only confirm the impression, as every imaginable form of cinema from Danish noir to South Korean horror, finds vocal advocates and analysts. 赠与三部影片殊荣的不只全国影评人协会，或可视为外国电影欣欣向荣的证明。 《卧虎藏龙》2001年在美国创下超过1亿2500万美元的票房，记忆犹新。针对来自 各地的影片热烈讨论、通常流於争论的网站与部落格激增，也强化此一印象。 每一种想像得到的电影形式，从丹麦的黑色电影到南韩的恐怖片，都找到畅所 欲言的拥护者和分析家。 But on these same Web sites you will also find frequent, justified expressions of frustration, even despair, at the state of foreign-film appreciation in the United States. The movies are out there, more numerous and various than ever before, but the audience — and therefore the box-office returns, and the willingness of distributors to risk even relatively small sums on North American distribution rights — seems to be dwindling and scattering. For every movie that manages to solicit a brief flicker of attention, there are dozens that will be seen only at film festivals or on region-free DVD players. 但是就在这些网站上，你也会发现，关於外国电影在美国受到怎麽样的欣赏， 频频有人发表言之成理的沮丧，甚至绝望心情。市面上的外国电影比过去任何 时候都多，而且多样，但观众与票房成绩，及发行单位赌一下小钱购买北美 地区发行权的意愿似乎都在减退，而且零零落落。一部片子引起的注意稍纵 即逝，有几十部片子只有在影展或没有区码限制的DVD光碟机才看得到。 Of course “foreign film” (or, as the academy prefers,“foreign-language film”) is a category so broad as to be nearly meaningless. 当然，「外国电影」（影艺学院比较喜欢说「外语片」）是个宽广到近乎全无 意义的类别。 The boundaries separating national cinemas are more porous than ever. Globalization is not only the blurry subject, for example, of Alejandro Gonzalez Inarritu’s “Babel,” winner of the Golden Globe for best drama, but also the condition of its existence. Released by Paramount Vantage, the newly rebranded specialty division of Paramount, “Babel” has both English subtitles (translating dialogue from Spanish, Berber and Japanese) and Anglophone movie stars (Brad Pitt and Cate Blanchett). 电影国界如今比以往更漏洞百出。以亚历山卓冈札拉伊纳瑞图的金球奖最佳影片 《火线交错》为例，全球化不仅是个模糊的主题，根本就是其存在的条件。 《火线交错》由派拉蒙旗下重新命名的特别部门经典公司发行，兼具英文字幕 （从西班牙语、巴巴语、日语对白译来），和以英语为母语的电影明星（布莱德 彼特和凯特布兰琪）。 Few movies made anywhere can claim a singular national identity. 在任何地方制作的电影，没有几部可以自称是单一国籍。 Especially for Americans, to step into the festival circuit is to enter a kind of parallel universe, where directors whose names are barely known in the United States are recognized as major artists, and where each day brings news of creative ferment from a different corner of the globe. 特别是美国人，踏进影展，如同进入另一个平行的世界，那个世界里，在美国几乎 没没无闻的导演是重要的艺术家，每天都有全球不同角落创意勃发的消息。 Even the most worldly cinephile will succumb to a moment or two of naive wonder. Such a big world. So many movies. Who knew? But then, back home, nobody seems to know — or, more discouragingly, to care. The cosmopolitanism of international filmmaking is matched by the parochialism of American film culture. 即使最老於世故的影迷，也免不了一时半刻陷入天真的赞叹。世界真大，电影真多。 谁晓得呢？可是然後，回到家，似乎没人知道，更泄气的是，似乎没人在意。国际 电影百家争鸣，对上美国电影文化的见识短浅、本土意识。 The gap between critical approbation and cultural currency has widened, even as the number and variety of critics has expanded. The arguments — in the virtual salons of the Internet and the actual rooms where movie critics hold their year-end meetings — are perhaps more intense and contentious than ever, but they also seem to take place in a series of echo chambers, sealed off from wider, less specialized conversations. 影评的认可和大众意见之间的鸿沟已经扩大，即使影评的数量和多样性已经增加。 影评人在网路与真实世界的房间内举行年终集会，讨论或许更激烈，争论也更热烈， 但也彷佛发生於一连串回音室内，与美国大众较不专业的谈话完全隔绝。 Partly it is a problem of numbers. Every year many more movies are made than can be released, and the ones that do make it into theaters have to compete with one another for the audience. Except for anomalies like Mr. Gibson’s “ Apocalypto” and Mr. Eastwood’s “Letters From Iwo Jima” — two in one year; what are the odds? — the major studios steer clear of subtitles, except when marketing their blockbusters overseas. 问题部分出在数目上。每年电影的生产量大於发行量，排上戏院档期的片子还得为 争取观众而相互厮杀。除了梅尔吉勃逊的《阿波卡猎逃》和克林伊斯威特的《来自 硫磺岛的信》两大例外（一年两部，成功的可能性多大？），要不是向海外行销 卖座片，主流片商连上字幕都省了。 Perhaps the old style of connoisseurship — the idea that the hardy few who sought out movies from faraway places, or who turned the revival houses into shrines of art, were part of a vanguard — has been replaced by something more modest and democratic. 老派的影痴监赏方式，例如少数死忠派远赴重洋找电影，将专门播放经典老片的 戏院转变为艺术殿堂，都曾是电影艺术的先驱，如今已被更为一般和大众化的 看电影方式取代。 The old film culture was based on hierarchical assumptions about taste and quality that have all but vanished, replaced by niches and networks of fans. You like your Romanian hospital movie, I like my Asian horror, and we have our Web sites and DVD rental queues to keep us happy; everything’s cool. And maybe, in these circumstances, no movie is really foreign. Or maybe every movie is. 以品味和品质层级认知差别为基础的传统电影文化已消失殆尽，代之而起的是利基 与影迷的关系网络。你喜欢罗马尼亚医院电影，我爱看亚洲恐怖片，我们各有自己 的网站和DVD出租店满足我们；什麽都很酷。也许，在这种情况下，没有哪部电影 真的是外国片，又或者，每部电影都是外国片。 By A. O. SCOTT 原文参照 http://www.iht.com/articles/2007/01/18/news/scott.php ============================================================================== 关键字句 电影有叫好（critically-acclaimed）与叫座（box-office hit）之分。在影展 （film festival）的颁奖典礼（award ceremony）上，有些影片能够两者兼具。 本文主题是外国电影愈来愈多，但美国人愈来愈不赏光。标题的wealth不是「财富」 ，而是「大量」：Young designers display a wealth of talent.（年轻设计师 展现多才多艺。）Dearth意指「缺乏」：英格兰在世界盃足球赛成绩欠佳，球评感叹 缺乏人才（There's a dearth of talent in England.）。 外国电影在美国的数量更多（numerous）、更多样（various），票房和片商购买 发行权的意愿却愈来愈低（dwindling）又疏疏落落（scattering）。两组字尾 各自押韵，措词巧妙。 另一组漂亮的对比字汇是cosmopolitanism与parochialism。国际电影工业的发展 已经超越国界，美国影坛却依旧目光褊狭。影评的认可（critical approbation） 就是「叫好」，通行於当代大众之间的意见（cultural currency）就是「叫座」 ，也构成对比。 有则笑话说，台湾留学生打电话回家报平安，说教室里面只有他一个台湾人，其余 都是「老外」；外国（foreign）和本国（domestic）也是相对的概念。作者在结尾 颠覆「外国电影」的定义，让人联想起周星驰的经典对白，「根本没有食神；或者 人人都是食神。」反映出某种解构观点（deconstructive perspective）。 （张佑生） 【2007-01-29/联合报/B6版/UNITED DAILY NEWS】 -- ﹨●∕─╭───────────────╮ 古 ｜"无清河！碧潭的水再脏也没你脏"｜ ∕﹨ ╰───────────────╯ @thefaith █████◣▇▆▅▆▇ ▇▆▅▆▇ ▇▆▅▆▇ ▇▆▅▆▇█▇▆▅▆▇█▇▆▅ █◣＿ˍ▁▂▃▄▃▂▁ˍ＿ˍ▁▂ 碧潭▃▄▃▂▁ˍ＿ˍ▁▂▃▄▃▂▁ --

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