[外電]外語片愈多美國人愈不賞光

看板Theater (電影院 - 戲院)作者JennyGarner (你可以叫我:韋恩魯肉飯)時間19年前 (2007/02/28 09:17)推噓0(0推 0噓 0→)

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http://tinyurl.com/22qpf2 Jan 29, 2007《紐時周報全文精譯》外語片愈多美國人愈不賞光 A Wealth of Foreign Films and a Dearth of Customers 張佑生譯 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. 「全國影評人協會」一月選出2006年年度贏家，是最後幾個公布評選結果的團體之一。這類票選是影評界一年一度自我肯定的盛事，該協會在各式各樣影評人組織與協會一個月狂熱票選後公布名單，或許是趕在2月25日奧斯卡大秀前，發聲表示自己不是無關緊要。 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. 全國影評人協會的票選結果，在這陣子評選混戰中略顯突出，因為其年度佳片前三名都不是英語片。第三名是克林伊斯威特的《來自硫磺島的信》，說日語；第二名《無醫可靠》是克里斯提普優執導的羅馬尼亞片；以些微差距獲選為年度最佳影片的是《羊男的迷宮》，吉勒莫戴托羅敘述一個發生在1940年代西班牙的魔幻險惡故事。 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. 贈與三部影片殊榮的不只全國影評人協會，或可視為外國電影欣欣向榮的證明。《臥虎藏龍》2001年在美國創下超過1億2500萬美元的票房，記憶猶新。針對來自各地的影片熱烈討論、通常流於爭論的網站與部落格激增，也強化此一印象。每一種想像得到的電影形式，從丹麥的黑色電影到南韓的恐怖片，都找到暢所欲言的擁護者和分析家。 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. 但是就在這些網站上，你也會發現，關於外國電影在美國受到怎麼樣的欣賞，頻頻有人發表言之成理的沮喪，甚至絕望心情。市面上的外國電影比過去任何時候都多，而且多樣，但觀眾與票房成績，及發行單位賭一下小錢購買北美地區發行權的意願似乎都在減退，而且零零落落。一部片子引起的注意稍縱即逝，有幾十部片子只有在影展或沒有區碼限制的DVD光碟機才看得到。 Of course “foreign film” (or, as the academy prefers,“foreign-language film”) is a category so broad as to be nearly meaningless. 當然，「外國電影」（影藝學院比較喜歡說「外語片」）是個寬廣到近乎全無意義的類別。 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). 電影國界如今比以往更漏洞百出。以亞歷山卓岡札拉伊納瑞圖的金球獎最佳影片《火線交錯》為例，全球化不僅是個模糊的主題，根本就是其存在的條件。《火線交錯》由派拉蒙旗下重新命名的特別部門經典公司發行，兼具英文字幕（從西班牙語、巴巴語、日語對白譯來），和以英語為母語的電影明星（布萊德彼特和凱特布蘭琪）。 Few movies made anywhere can claim a singular national identity. 在任何地方製作的電影，沒有幾部可以自稱是單一國籍。 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. 特別是美國人，踏進影展，如同進入另一個平行的世界，那個世界裡，在美國幾乎沒沒無聞的導演是重要的藝術家，每天都有全球不同角落創意勃發的消息。 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，也免不了一時半刻陷入天真的讚嘆。世界真大，電影真多。誰曉得呢？可是然後，回到家，似乎沒人知道，更洩氣的是，似乎沒人在意。國際電影百家爭鳴，對上美國電影文化的見識短淺、本土意識。 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. 影評的認可和大眾意見之間的鴻溝已經擴大，即使影評的數量和多樣性已經增加。影評人在網路與真實世界的房間內舉行年終集會，討論或許更激烈，爭論也更熱烈，但也彷彿發生於一連串回音室內，與美國大眾較不專業的談話完全隔絕。 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. 問題部分出在數目上。每年電影的生產量大於發行量，排上戲院檔期的片子還得為爭取觀眾而相互廝殺。除了梅爾吉勃遜的《阿波卡獵逃》和克林伊斯威特的《來自硫磺島的信》兩大例外（一年兩部，成功的可能性多大？），要不是向海外行銷賣座片，主流片商連上字幕都省了。 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. 老派的影癡鑑賞方式，例如少數死忠派遠赴重洋找電影，將專門播放經典老片的戲院轉變為藝術殿堂，都曾是電影藝術的先驅，如今已被更為一般和大眾化的看電影方式取代。 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. 以品味和品質層級認知差別為基礎的傳統電影文化已消失殆盡，代之而起的是利基與影迷的關係網絡。你喜歡羅馬尼亞醫院電影，我愛看亞洲恐怖片，我們各有自己的網站和DVD出租店滿足我們；什麼都很酷。也許，在這種情況下，沒有哪部電影真的是外國片，又或者，每部電影都是外國片。 By A. O. SCOTT 原文參照 http://www.iht.com/articles/2007/01/18/news/scott.php ============================================================================== 關鍵字句電影有叫好（critically-acclaimed）與叫座（box-office hit）之分。在影展（film festival）的頒獎典禮（award ceremony）上，有些影片能夠兩者兼具。本文主題是外國電影愈來愈多，但美國人愈來愈不賞光。標題的wealth不是「財富」，而是「大量」：Young designers display a wealth of talent.（年輕設計師展現多才多藝。）Dearth意指「缺乏」：英格蘭在世界盃足球賽成績欠佳，球評感嘆缺乏人才（There's a dearth of talent in England.）。外國電影在美國的數量更多（numerous）、更多樣（various），票房和片商購買發行權的意願卻愈來愈低（dwindling）又疏疏落落（scattering）。兩組字尾各自押韻，措詞巧妙。另一組漂亮的對比字彙是cosmopolitanism與parochialism。國際電影工業的發展已經超越國界，美國影壇卻依舊目光褊狹。影評的認可（critical approbation）就是「叫好」，通行於當代大眾之間的意見（cultural currency）就是「叫座」，也構成對比。有則笑話說，台灣留學生打電話回家報平安，說教室裡面只有他一個台灣人，其餘都是「老外」；外國（foreign）和本國（domestic）也是相對的概念。作者在結尾顛覆「外國電影」的定義，讓人聯想起周星馳的經典對白，「根本沒有食神；或者人人都是食神。」反映出某種解構觀點（deconstructive perspective）。（張佑生）【2007-01-29/聯合報/B6版/UNITED DAILY NEWS】 -- ﹨●∕─╭───────────────╮ 古｜"無清河！碧潭的水再髒也沒你髒"｜ ∕﹨ ╰───────────────╯ @thefaith █████◣▇▆▅▆▇ ▇▆▅▆▇ ▇▆▅▆▇ ▇▆▅▆▇█▇▆▅▆▇█▇▆▅ █◣＿ˍ▁▂▃▄▃▂▁ˍ＿ˍ▁▂ 碧潭▃▄▃▂▁ˍ＿ˍ▁▂▃▄▃▂▁ -- ※ 發信站: 批踢踢實業坊(ptt.cc) ◆ From: 59.117.18.210

[外電]外語片愈多 美國人愈不賞光

[外電]外語片愈多美國人愈不賞光