A deep breath in is followed by a breath out.

深吸一口氣後再呼出一口氣。

In storytelling, the inhale is the build-up to the ultimate climax.

在講故事時，吸氣是最終高潮的鋪墊。

"- Great shot, kid. That was one in a million."

"好球，孩子。真是萬里挑一"

And the exhale is the catharsis.

呼氣就是宣洩。

Why is this distinct narrative experience so important?

為什麼這種獨特的敘事體驗如此重要？

And how can a writer achieve it?

作家如何才能做到這一點？

This is What Is Catharsis?

這就是《什麼是宣洩？

Before we get our sense of release, subscribe to StudioBinder and click the bell to stay updated on all our filmmaking videos.

在我們獲得釋放感之前，請訂閱 StudioBinder 並點擊鈴鐺，隨時瞭解我們所有電影製作視頻的更新。

Tragically, we will be spoiling the following movies.

不幸的是，我們將劇透以下幾部電影。

"- Time to inhale."

"該吸氣了

Catharsis is the purification or purging of emotions typically associated with a work of art.

所謂 "淨化"（Catharsis），通常是指與藝術作品相關的情感的淨化或純化。

It comes from the Greek word kathirein, which means to cleanse or purge.

它來自希臘語 kathirein，意思是清潔或淨化。

The term was popularized by the Greek philosopher Aristotle in his seminal work, Poetics.

希臘哲學家亞里士多德在其開創性著作《詩學》中推廣了這一術語。

The philosopher primarily examined catharsis in the context of tragedies where the plot must imitate actions arousing fear and pity.

這位哲學家主要是在悲劇的背景下研究宣洩的，在悲劇中，情節必須模仿引起恐懼和憐憫的行為。

To Aristotle, this expulsion of negative emotions brought on by catharsis would leave the audience feeling happier.

在亞里士多德看來，這種宣洩帶來的負面情緒的釋放會讓觀眾感覺更快樂。

"- I look forward to a good cry.

"--我期待著好好哭一場。

Feels pretty good."

感覺不錯。"

This, argued the philosopher, is why tragedies were both important for society and popular among audiences.

這位哲學家認為，這就是為什麼悲劇既對社會重要，又受觀眾歡迎。

Of course, catharsis is subjective.

當然，宣洩是主觀的。

An ending may be extremely cathartic for one person and completely emotionless for someone else.

對一個人來說，結局可能是極度的宣洩，而對另一個人來說，結局可能是完全沒有感情的。

"- I did not care for the godfather.

"我不喜歡教父。

What?

什麼？

Did not care for the godfather.

不喜歡教父。

How can you even say that, dad?"

你怎麼能這麼說，爸爸？"

In this video, however, we'll focus on catharsis in narratives.

不過，在本視頻中，我們將重點討論敘事中的宣洩。

Today, narrative catharsis is widely understood as the release of emotions or emotional response to the end of any type of story.

如今，敘事宣洩被廣泛理解為任何類型的故事結束時的情緒釋放或情感反應。

Not just tragedy.

不僅僅是悲劇

Think of Sam and Annie finally meeting in Sleepless in Seattle.

想想在《西雅圖夜未眠》中，山姆和安妮終於見面了。

Or the emotional reunion of Jamal and Latika in Slumdog Millionaire.

或者是《貧民窟的百萬富翁》中賈馬爾和拉蒂卡的情感重聚。

But first, let's look at catharsis in its traditional context.

但首先，讓我們從傳統的角度來看看宣洩。

Tragedy.

悲劇

Aristotle outlines four ways that catharsis can be created in a tragedy.

亞里士多德概述了悲劇中產生宣洩的四種方式。

He utilizes two axes.

他使用了兩把斧子。

Knowingly and unknowingly.

明知故犯

And completed or stopped at the final moment.

並在最後一刻完成或停止。

The philosopher argues that some of these four quadrants are better than others at eliciting catharsis.

這位哲學家認為，在這四個象限中，有些象限比其他象限更能引發宣洩。

The least effective, he argues, is when a character is acting knowingly and stops.

他認為，效果最差的情況是，角色在明知故犯的情況下停止行動。

In other words, the character is fully aware of their actions and the consequences.

換句話說，角色完全清楚自己的行為和後果。

But they end up not going through with it.

但他們最終還是沒有去做。

According to Aristotle, this is an idle threat and the audience reads it as such.

根據亞里士多德的觀點，這是一種空洞的威脅，觀眾也是這樣解讀的。

"- These are my people.

"他們是我的子民。

Hunch, mayor.

直覺，市長

Go.

去吧

Go, Martin, please." "- Stand aside, Martin."

走吧，馬丁"靠邊站 馬丁"

In The Searchers,

在《搜索者》中、

Ethan would rather kill his own niece Debbie than see her living as a Comanche.

伊桑寧願殺死自己的侄女黛比，也不願看到她過著科曼奇人的生活。

"- What do you mean you don't have any blood kin?

"你說你沒有血親是什麼意思？

But Debbie's your blood kin.

但黛比是你的血親。

Not no more, she ain't.

不再是了，她不是了。

Well, you can keep your will."

好吧，你可以保留你的遺囑。"

He pursues this murderous task.

他繼續執行這項謀殺任務。

But at the last minute, he stops himself.

但在最後一刻，他還是停下了腳步。

The tragedy is avoided and the audience might feel relieved.

避免了悲劇的發生，觀眾也許會感到欣慰。

"- Let's go home, Debbie."

"我們回家吧 黛比

But this turn of events leaves little room for real catharsis.

但是，事態的發展並沒有給真正的宣洩留下多少空間。

Next is knowingly and completed.

接下來是知情並完成。

When a character knows what they are doing is wrong but they do it anyway.

當角色明知自己的行為是錯誤的，但還是要去做。

"- I took a souvenir.

"--我拿了個紀念品。

Her pretty head."

她漂亮的頭"

This can be found in seven.

這可以在七個方面找到。

Where Somerset tells Mills that he shouldn't shoot John Doe.

薩默塞特告訴米爾斯，他不應該向無名氏開槍。

"- Give me the gun, David.

"把槍給我 戴維

David.

戴維

If you kill him, he will win."

如果你殺了他，他就會贏。"

But Mills does it anyway.

但米爾斯還是這麼做了。

This brings us to Aristotle's second best option.

這就引出了亞里士多德的第二個最佳選擇。

Unknowingly and completed.

在不知不覺中完成。

In this scenario, a character sees through an action unaware of the consequences until it's too late.

在這種情況下，角色會在不知道後果的情況下完成一項行動，直到為時已晚。

Old boy utilizes this option.

老男孩利用了這一選項。

Desus falls in love with a woman.

德蘇斯愛上了一個女人。

But he doesn't know what to do.

但他不知道該怎麼辦。

A cruel twist of fate and part of an even crueler act of revenge.

這是命運的殘酷轉折，也是更殘酷的復仇行動的一部分。

We are strongly encouraged to pity Desus which is the exact goal of true catharsis.

我們被強烈鼓勵去憐憫德蘇斯，這正是真正宣洩的目的。

"- Uncle, what's wrong with you?

"叔叔，你怎麼了？

I'm so sorry.

真對不起

I didn't mean to hurt you.

我無意傷害你

I'm sorry.

我很抱歉

I didn't mean to hurt you.

我無意傷害你

I didn't mean to hurt you.

我無意傷害你

I didn't mean to hurt you.

我無意傷害你

I didn't mean to hurt you.

我無意傷害你

Uncle, here.

叔叔，這裡

I put a box here.

我在這裡放了一個盒子。

He told me to open it.

他讓我打開它。

It's purple like it was then.

紫色，就像當年一樣。

No!

不

No!

不

No, Mido.

不，Mido。

No, no, no.

不，不，不

Don't open it.

別打開

Don't open it.

別打開

If you open it, you'll be in trouble.

如果你打開它，就會有麻煩。

Don't even touch it, okay?

別碰它，好嗎？

What's this?

這是什麼？

You know, right?

你知道的，對吧？

Mido.

米多

Mido, hold on a little longer.

Mido 再堅持一下

Okay?

好嗎？

I'll be right there.

我馬上就來

I'll be right there."

我馬上就來

And finally, there is unknowingly and stopped.

最後，就是不知不覺地停下來。

Where a character doesn't realize they are about to cause harm but they stop themselves.

角色並沒有意識到自己將要造成傷害，但他們會阻止自己。

According to Aristotle, this ending has the highest cathartic potential because it leaves room for a character to reflect on what they were about to do.

亞里士多德認為，這種結尾具有最大的宣洩潛力，因為它給人物留下了反思自己將要做什麼的空間。

In Batman v Superman, the climactic fight between the two heroes is about to reach a fatal conclusion.

在《蝙蝠俠大戰超人》中，兩位英雄之間的巔峰對決即將迎來致命結局。

But Superman's final plea breaks through Batman's rage.

但超人最後的懇求打破了蝙蝠俠的憤怒。

The evocation of his mother's name sends up strong painful memories.

喚起他母親的名字會喚起他強烈的痛苦回憶。

And when he learns the truth,

當他知道真相後

Batman yields.

蝙蝠俠產量

"- Please, stop.

"求你了，別說了。

Why did you say that name?

你為什麼說那個名字？

It's his mother's name.

這是他母親的名字。

It's his mother's name.

這是他母親的名字。

He realizes they share a common enemy and joins forces to end the real threat to humanity.

他意識到他們有一個共同的敵人，於是聯合起來消除人類面臨的真正威脅。

All four catharsis types can be powerful.

所有四種宣洩類型都能產生強大的效果。

It all depends on the story you want to tell."

這完全取決於你想講的故事"。

Of course, catharsis doesn't only come from dire endings.

當然，宣洩不僅來自於可怕的結局。

It can also be found in moments of triumph.

它也可以在勝利的時刻找到。

Most mainstream films have relatively happy endings.

大多數主流電影都有相對圓滿的結局。

The key to making these happy endings cathartic lies in resolving the primary tension of the narrative.

讓這些大團圓結局具有宣洩作用的關鍵在於解決敘事的主要矛盾。

"- After careful consideration, I've decided not to endorse your park.

"經過慎重考慮，我決定不支持你們的公園。

So have I."

我也是"。

The source of this tension may be obvious.

這種緊張關係的根源可能顯而易見。

As it is in

因為它在

When Harry Met Sally.

當哈利遇上莎莉

"- We are just going to be friends, okay?

"我們只做朋友，好嗎？

Great friends.

好朋友

It's the best thing."

這是最好的事情。"

The tension in the film is that Harry and Sally are never able to figure out how to move their relationship past friendship.

影片的緊張之處在於，哈里和莎莉始終無法想出如何讓他們的關係超越友誼。

"- Oh, I think it's great that you have a date.

"哦，我覺得你有約會真是太好了。

You do?

是嗎？

Yeah."

是啊。"

And so the catharsis comes when they finally do that.

是以，當他們最終做到這一點時，宣洩就來了。

"- What does this song mean?

"這首歌是什麼意思？

My whole life, I don't know what this song means.

我一輩子都不知道這首歌的含義。

Anyway, it's about old friends." ♪♪

"總之，這是關於老朋友的"♪♪

But sometimes the resolution is less expected.

但有時，解決方法卻不盡如人意。

"- Why'd you do it?

"你為什麼這麼做？

I didn't since you asked.

既然你問了，我就沒說。

You're gonna fit right in."

"你會適應的"

In the Shawshank Redemption,

在《肖申克的救贖》中

Andy spends most of the film trying to escape prison.

安迪在影片中的大部分時間都在試圖越獄。

So one might think the main source of catharsis would be when he's finally free.

是以，人們可能會認為，當他最終獲得自由時，才是宣洩的主要來源。

But the true cathartic moment is when he and Red reunite.

但真正的宣洩時刻是他和小紅帽重逢的時候。

It is their friendship that truly powers the narrative.

他們的友誼才是敘事的真正動力。

And thus, catharsis must be rooted in that relationship.

是以，宣洩必須植根於這種關係。

Catharsis can also turn potentially tragic endings into triumphant ones.

宣洩也能將潛在的悲劇結局轉化為勝利結局。

In Gladiator, Maximus is killed.

在《角鬥士》中，馬克西穆斯被殺死了。

But the film signals that he has finally achieved peace.

但這部電影卻預示著他終於獲得了平靜。

He is reunited with his wife and son and the reforms he has fought for may be enacted.

他與妻兒團聚，他為之奮鬥的改革也可能得以實現。

Similarly, a lack of catharsis can make the audience question if the ending is, in fact, triumphant.

同樣，缺乏宣洩也會讓觀眾懷疑結局是否真的勝利。

In Blade Runner, Deckard's mission is to retire the replicant Roy Batty.

在《銀翼殺手》中，迪卡德的任務是讓複製人羅伊-巴蒂退休。

He achieves this goal.

他實現了這一目標。

But Batty's emotional monologue deflates any victorious catharsis and instead suggests this ending may, in fact, be tragic.

但是，巴蒂的情感獨白讓勝利的宣洩變得毫無意義，反而暗示了這個結局實際上可能是悲劇性的。

As Blade Runner illustrates, the use of catharsis can color how an audience interprets what preceded it.

正如《銀翼殺手》所展示的那樣，宣洩的使用會影響觀眾對之前內容的理解。

Let's look at how you can craft your own catharsis with some writing tips.

讓我們看看如何通過一些寫作技巧來製作自己的宣洩。

Of course, there is no one way to create catharsis.

當然，創造宣洩的方法並非只有一種。

But in the simplest terms, catharsis is made up of two parts.

但最簡單地說，宣洩由兩部分組成。

The setup and the payoff.

設置和回報

The setup for catharsis is the vast majority of a narrative.

宣洩的鋪墊是敘事的絕大部分。

It builds the emotions in the audience that are eventually released at the end.

它讓觀眾的情緒在最後得到釋放。

Sleepless in Seattle has a very clear setup device.

西雅圖夜未眠》有一個非常清晰的設置裝置。

Its two protagonists never directly interact for most of the film's runtime.

在影片的大部分時間裡，兩位主角從未有過直接互動。

But the audience sees they are perfect for each other.

但在觀眾看來，他們是天生一對。

This makes their connection at the end of the film all the more cathartic.

這使得他們在影片結尾處的聯繫更具有宣洩性。

An effective payoff, meanwhile, must build on the setup.

同時，有效的結尾必須建立在鋪墊的基礎上。

Giving the story a sense of closure.

給故事一個結尾。

As we've seen, this is either through overcoming an obstacle or being stricken by tragedy.

正如我們所看到的，這要麼是通過克服障礙，要麼是通過遭遇悲劇。

In Titanic, James Cameron delivers a multi-pronged catharsis that manages to have both tragedy and triumph.

在《泰坦尼克號》中，詹姆斯-卡梅隆通過多管齊下的宣洩，成功地將悲劇與勝利融為一體。

Jack and Rose overcome the odds stacked against them to become lovers.

傑克和蘿絲克服重重困難成為戀人。

But the victory is fleeting.

但勝利稍縱即逝。

And the tragedy subsequently strikes.

悲劇隨後發生了。

"- A catharsis also relies on stakes.

"--宣洩也依賴於賭注。

For the audience to be moved emotionally, it needs to know why the triumph or tragedy matters.

要讓觀眾產生情感共鳴，就必須讓他們知道為什麼勝利或悲劇如此重要。

I suppose you've given some thought to the notion that if you lose, our government will have directly financed terrorism.

我想你已經考慮過了，如果你輸了，我們的政府將直接資助恐怖主義。

"- Triumphs often require great effort to achieve.

"勝利往往需要付出巨大的努力才能實現。

Against all odds.

排除萬難

True underdog stories.

真正的弱者故事

In tragedies, the stakes are often life or death.

在悲劇中，利害關係往往是生死攸關的。

Addiction or lost love.

毒癮或失戀

A character arc can also help create catharsis.

人物弧線也有助於產生宣洩效果。

For triumphs, this is when a character has a positive arc.

對於 "勝利 "來說，這是指角色有了積極的弧線。

Like Rocky building the resilience to go 15 rounds with Creed.

就像 "洛奇 "與 "克里德 "大戰 15 回合時所表現出的韌性。

We are moved by Rocky's hard-earned success.

我們為洛基來之不易的成功而感動。

For tragedies, this is typically when a character has a negative arc.

對於悲劇而言，這通常是指角色出現負面弧線。

In Macbeth, the lust for power leads the title character down a murderous path to ruin.

在《麥克白》中，權力的慾望將主角引向了一條通往毀滅的謀殺之路。

"- Why did you bring these daggers from the place?

"你為什麼要把這些匕首帶回來？

They must lie there.

他們必須躺在那裡。

Go carry them and smear the sleepy grooms with blood.

去把他們抬來，給昏昏欲睡的新郎們塗上鮮血。

I'll go no more.

我不會再走了。

I'm afraid to think what I have done.

我不敢想我都做了些什麼。

Look on to get night.

繼續看，晚上見。

I dare not.

我不敢。

Infirm of purpose.

目標不堅定。

Give me the daggers."

把匕首給我

Catharsis can also be emphasized by showing how a character is moved by the cathartic event.

還可以通過展示人物如何被宣洩事件所打動來強調宣洩。

In Miracle, the triumphant victory is underscored by the characters and crowd celebrating.

在《奇蹟》中，人物和人群的歡慶突出了勝利的喜悅。

If we empathize with a character and they reach a moment of catharsis, it might inspire our own emotional cleansing.

如果我們對某個角色產生了共鳴，他們達到了宣洩的時刻，這可能會激發我們自己的情感淨化。

"- It's not your fault.

"這不是你的錯

Don't f**k with me, all right?

別惹我，好嗎？

Don't f**k with me, Sean.

別耍我 肖恩

Not you.

不是你

It's not your fault."

這不是你的錯。"

In Good Will Hunting,

在《心靈捕手

Will's breakdown with Sean is clearly cathartic for him.

威爾與肖恩的崩潰對他來說顯然是一種宣洩。

And potentially for the audience as well.

對觀眾來說也是如此。

But a character's reaction can also complicate a movie's catharsis.

但角色的反應也會讓電影的宣洩變得複雜。

In Schindler's List,

在《辛德勒的名單》中、

Schindler succeeds in his mission to save many of his workers.

辛德勒成功完成了拯救許多工人的使命。

But his reaction reminds us that this small victory is nothing in comparison to the exponentially larger tragedy.

但他的反應提醒我們，與成倍增加的悲劇相比，這小小的勝利根本不算什麼。

"- I could have got more out.

"--我本可以得到更多。

I could have got more.

我本可以得到更多。

I don't know if I just...

我不知道我是不是...

I could have got more.

我本可以得到更多。

Oscar, there are 1,100 people who are alive because of you.

奧斯卡，有 1100 人因為你而活著。

Look at them.

看看他們。

You have no idea.

你根本不知道。

If I just...

如果我...

There will be generations because of what you did.

因為你的所作所為，我們將世代相傳。

I didn't do enough.

我做得不夠。

You did so much."

你做了這麼多。"

The elements of an effective catharsis can feel ineffable.

有效宣洩的要素可能讓人感覺難以言喻。

Because a great catharsis is something greater than words.

因為偉大的宣洩比語言更偉大。

Catharsis is a large part of what makes storytelling so powerful.

宣洩是講故事之所以如此強大的重要原因。

It can move us to feel emotions we may not typically feel.

它能打動我們，讓我們感受到平時可能感受不到的情感。

"- Now, I'm gonna go back inside and finish watching Sleepless in Seattle.

"現在，我要回屋看完《西雅圖夜未眠》

Nobody screw with me."

誰也別想耍我"。

And as Aristotle argues, it can even prompt us to feel differently.