Name: 哈利波特與阿茲卡班的囚徒。為什麼它是最好的 (Harry Potter & The Prisoner of Azkaban: Why It's The Best)
Uploaded: 2022-05-18T01:35:27.000Z
Duration: 8 min 11 s

程度副詞

Yeah, no, I had just turned 13 when the first Harry Potter movie came out.

是的，不，《哈利-波特》第一部電影上映時我剛滿13歲。

According to Warner Brothers, nearly 60% of the people who saw that movie were 17 or younger.

據華納兄弟公司稱，看那部電影的人中有近60%是17歲或更年輕。

But for a whole generation of us, the Harry Potter series spanned our adolescents and printed onto our lives.

但對我們整整一代人來說，《哈利-波特》系列跨越了我們的青春期，印在了我們的生活中。

A love of reading, but less has been said about the films.

對閱讀的熱愛，但對電影卻說得比較少。

I think their commitment to good cinematic work was potentially just as important for young people's filmic education as J.

我認為他們對優秀電影作品的承諾對年輕人的電影教育來說可能和J.A.一樣重要。

Rowling's accomplishments were for our literary upbringing.

羅琳的成就是為了我們的文學教養。

For me, that all starts with Alfonso Cuaron and the third film in the series, The prisoner of Azkaban coming at a crucial time in both the books and the films.

對我來說，這一切都要從阿方索-卡隆和該系列的第三部電影《阿茲卡班的囚徒》開始，在書中和電影中都是一個關鍵時期。

Azkaban marks potters transition from perilous adventure stories for Children, not in the restricted section to increasingly dark, increasingly nuanced treatments of character and plot picking quaranta handle This passage seems perfect in retrospect as it set the tone for the grimmer and grimmer final installments of the series, but Warner Brothers has to be credited for taking a chance on a director whose previous film was an explicit mexican road trip drama about sexual discovery.

阿茲卡班》標誌著波特從為兒童編寫的危險的冒險故事過渡到越來越黑暗、對人物和情節越來越細微的處理採誇蘭塔柄這段話回想起來似乎很完美，因為它為該系列越來越嚴峻的最後幾部作品定下了基調，但華納兄弟必須為抓住一個導演的機會而感到自豪，他的前一部電影是一部關於性發現的墨西哥公路旅行劇。

A lot of the style of that film in Cuaron's previous work is readily apparent in Azkaban, most notably his fondness for a moving, often handheld camera, just take a quick, sped up look at this early scene from the great hall, not a single shot is stationary.

古龍以前作品中的很多風格在《阿茲卡班》中很明顯，最明顯的是他喜歡用移動的、經常是手持的攝影機，只要快速地、加速地看一下大殿的這個早期場景，沒有一個鏡頭是靜止的。

This gives the scene and the film a feeling of forward momentum and establishes a curious camera, but it also lends to the film a sense of unease, an inability to find stable footing now for a film that is to be haunted by a feared killer throughout such a style is Fitting, and this isn't the only signature technique Warren brings to potter his famous use of the long take is here as well.

這給了這個場景和影片一種前進的動力，並建立了一個好奇的鏡頭，但它也給影片帶來了一種不安，一種無法找到穩定的立足點的感覺，現在對於一部被一個令人恐懼的殺手所困擾的影片來說，這樣的風格是合適的，這並不是沃倫給波特帶來的唯一標誌性技術，他著名的長鏡頭的使用也在這裡。

This shot right here is a minute and 49 seconds long, and as the critic, Kristen Thompson has noted, it marks a crucial tonal shift in the film.

這個鏡頭就在這裡，長1分49秒，正如評論家克里斯汀-湯普森所指出的，它標誌著影片的一個關鍵色調轉變。

The first two scenes, one in which Harry blows up his horrible aunt and one in which he takes a ride on the ridiculous night bus are both pretty lighthearted.

前兩場戲，一場是哈利炸死他可怕的姑媽，一場是他乘坐可笑的夜班車，都是相當輕鬆的。

You could almost say that these two scenes are a nod to the two comparatively lighter films that came before this in this scene and this shot, Harry learns of the true danger he faces, and what's important to notice here is that with deeper, more significant peril comes deeper, more significant isolation.

你幾乎可以說，這兩個場景是對之前兩部相對較輕的電影的點頭，在這個場景和這個鏡頭中，哈利瞭解到他所面臨的真正的危險，而這裡需要注意的是，隨著更深的、更重要的危險，也帶來了更深的、更重要的孤立。

Mr Weasley pulls Harry into another part of the leaky cauldron separating him from his friends while keeping the specter of Sirius Black in the foreground, When the conversation turns explicitly to black, his image is placed between them with family and friends framed in the background.

韋斯萊先生把哈利拉到漏水小耳朵的另一個部分，把他和他的朋友們隔開，同時把小天狼星布萊克的幽靈放在前景中。

Then Mr Weasley pulls Harry into an alcove so that they are alone, asking Harry not to go looking for black and finally, for the key dramatic question and period on the scene, Sharon frames Harry completely by himself.

然後韋斯萊先生把哈利拉到一個凹室裡，讓他們單獨在一起，要求哈利不要去找黑子，最後，為了現場的關鍵戲劇性問題和時期，莎朗把哈利完全框在自己身邊。

Now, this is great filmmaking isolation will go on to be a key theme in Azkaban and the rest of the series.

現在，這是偉大的電影製作隔離，將成為《阿茲卡班》和該系列其他作品的一個關鍵主題。

Despite its constant message of friendship and its focus on the bond between Harry Ron and Hermione.

儘管它不斷地傳遞著友誼的資訊，並著重於哈利-羅恩和赫敏之間的聯繫。

The series returns repeatedly to Harry's feelings of being alone, the chosen one, his gradual realization of a burden that he must carry without help.

這部電視劇反覆回到了哈利的孤獨感，他是被選中的人，他逐漸意識到自己必須在沒有幫助的情況下扛起一個重擔。

The prisoner of Azkaban reflects deepens and foreshadows these feelings by separating Harry out from his surroundings or else placing him apart from those around him.

阿茲卡班的囚徒通過將哈利與周圍的環境分離開來，或者將他與周圍的人分開，反映出這些感覺的加深和預示。

Warren never misses a chance to return to this theme.

沃倫從不放過任何一個回到這個主題的機會。

Whether it means separating Harry from his friends in a shot about something else telling Emma Watson to kneel out of a shot or ending the movie by having Harry literally fly away from a crowd, internal consistency.

無論是意味著在一個關於別的東西的鏡頭中把哈利和他的朋友分開，告訴艾瑪-沃特森跪在鏡頭外，還是在電影結束時讓哈利真的從人群中飛走，都是內部的一致性。

This is one of Cuaron's major strengths and that's what makes the prisoner of Azkaban a cut above the rest of the films in the series, some of which are quite good motifs shoot back and forth across the runtime, like magic spells and comment on each other tightening a web that laces meaning throughout.

這是卡隆的主要優勢之一，這也是《阿茲卡班的囚徒》比該系列其他影片更勝一籌的原因。其中一些相當好的主題在整個影片中來回拍攝，就像魔法咒語一樣，相互評論收緊了一張網，把意義貫穿其中。

Little things like following empty footsteps in the snow before introducing a key object that visualizes people moving through Hogwarts castle with footsteps, some immediate foreshadowing there.

一些小事，比如在引入一個關鍵對象之前，在雪地上跟隨空蕩蕩的腳步聲，將人們在霍格沃茨城堡中移動的腳步聲可視化，在那裡有一些直接的預示。

But what about some longer foreshadowing?

Maybe a little bird that flies around the grounds in the beginning of the film to places?

也許是一隻小鳥，在影片開始的時候繞著場地飛到各個地方？

It will only later occur to us that map the sites of significant scenes in the movie or what about something more meaningful?

我們後來才會想到，將電影中重要場景的地點繪製成地圖，或者更有意義的事情呢？

Like Warren's recurring motif of moving the camera through glass, a motif that pays off twice in this scene where the students fight off a braggart, a creature that visualizes your worst fear twice in this scene into beautiful shots.

就像沃倫反覆提出的通過玻璃移動攝影機的主題，這個主題在學生們擊退吹牛者的這場戲中得到了兩次回報，這種生物在這場戲中兩次將你最害怕的事情形象化為美麗的鏡頭。

The camera moves through the mirrors of this wardrobe, suggesting that while it's important to look through windows and see the world, you can also look through mirrors, which is to say into yourself not to mention that these shots just make you think, wait, how did he do that?

鏡頭在這個衣櫃的鏡子中移動，暗示著雖然透過窗戶看世界很重要，但你也可以透過鏡子，也就是看你自己不說，這些鏡頭只是讓你覺得，等等，他怎麼做到的？

A great question for any young filmgoer to ask.

任何年輕的電影觀眾都要問的一個好問題。

而這正是這裡的重點，不是嗎？

We hear so much about a film industry that continues to pump out crap films that's ruled by lowest common denominator fair.

我們聽到了太多關於電影業不斷推出垃圾電影的消息，它被最低限度的公平所統治。

There are a number of reasons for that, but one of them is that a lot of the movie going public suffers from cinematic illiteracy.

這有很多原因，但其中一個原因是很多電影觀眾患有電影文盲症。

我們不知道什麼是一部好的電影。

So the industry serves up superficial projects that play on cheap emotions and make us into passive viewers.

是以，這個行業提供了一些膚淺的項目，玩弄廉價的情感，使我們成為被動的觀眾。

But learning film is always an active enterprise.

但學習電影始終是一項積極的事業。

All great movies are teaching movies because they encourage us to participate with them and with the whole of cinema, this is why the prisoner of Azkaban is so important like anything, it's easy to develop a taste for something when we learn it.

所有偉大的電影都是教學電影，因為它們鼓勵我們參與其中，參與整個電影，這就是為什麼《阿茲卡班的囚徒》像任何東西一樣如此重要，當我們學習某樣東西時，很容易形成一種品味。

Young harry potter is a mega franchise, won millions of kids bought tickets for and millions more will watch and rewatch at home, having a great film like this in that roster.

年輕的哈里-波特是一個巨大的特許經營權，贏得了數百萬孩子的買票，還有數百萬人將在家裡觀看和重看，在這個名冊中擁有這樣一部偉大的電影。

Well, the results could be exponential, A small light that in the end shines much brighter than anyone I would expect everybody.

那麼，結果可能是指數級的，一盞小小的燈，最後照亮了比我期望的任何人都要亮的多的人。

顯然，我是一個巨大的哈里-波特粉絲。

I grew up with those books, those ages at the beginning, we're actually my age is um so this was a blast to make.

我和這些書一起長大，一開始的那些年齡，我們實際上是我的年齡是嗯，所以這個是一個爆炸性的製作。

I want to thank you guys actually, because a lot of people actually pledged a dollar or $3 after last week's video.

實際上我想感謝你們，因為很多人在上週的視頻之後實際上認捐了1美元或3美元。

Um and those small pledges really mean so much because what matters to me is that if you have the ability to pledge, um trying to do so over a long term period because the Patreon is really my salary.

嗯，這些小的認捐真的意義重大，因為對我來說重要的是，如果你有能力認捐，嗯，試圖長期這樣做，因為Patreon真的是我的工資。

So knowing what I'm going to get, gives me the ability to plan new projects, bigger projects in the future just makes everything a lot more stable.

是以，知道我將得到什麼，讓我有能力計劃新的項目，未來更大的項目，只是讓一切變得更加穩定。

So I'd rather you do a dollar, you know, over a year, then, you know, $5 or $10 over a couple of weeks.

所以我寧願你做一美元，你知道，在一年內，然後，你知道，在幾個星期內做5美元或10美元。

Obviously if you can do $5 over a year, you're amazing and I can't even believe it.

顯然，如果你能在一年內做到5美元，你就很了不起，我甚至無法相信它。

Um but thank you guys for everything you've donated to this channel, it's been amazing.

嗯，但感謝你們為這個頻道所捐獻的一切，這很了不起。

It's helped me grow this thing and it's growing really fast now and it's really exciting, People are watching and paying attention, which is all I ever wanted to start.

它幫助我成長這件事，它現在成長得非常快，這真的很令人興奮，人們在觀察和關注，這是我曾經想要開始的一切。