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  • The first thing you notice about Michael Mann's Heat is that it's all long lenses.

    邁克爾-曼'的《熱》,你首先注意到的是它'都是長鏡頭。

  • In a widescreen, 23 by 9 format, meant to allow for a broad scope so that you can see more

    寬屏,23×9的格式,目的是為了讓你能看到更多的內容。

  • Mann crowds his subjects into the frame, as if you're always watching them on a stakeout

    曼恩把他的對象擠進了畫面,就好像你總是在監視他們一樣。

  • from some hidden vantage on the building opposite.

    從對面大樓的某個隱蔽的有利位置。

  • The telephoto lens is really the perfect lens for this film.

    長焦鏡頭確實是本片的最佳鏡頭。

  • It has the effect of keeping everything at a distance

    它有保持一切距離的效果

  • while at the same time separating people from the background

    同時又把人與背景隔離開來

  • while also, at the same time, turning the background into an almost liquid plane of lights

    同時,也把背景變成了一個幾乎是液體的光平面。

  • evoking that fantastical romance that is always found in noir

    充滿了黑色幽默感的浪漫氣息

  • and which Michael Mann sees in the sprawl of Los Angeles.

    而邁克爾-曼在洛杉磯的無序發展中看到了這一點。

  • This is all to say that the telephoto lens is both functional and stylistic in Heat

    這都是說長焦鏡頭在熱度上的功能性和風格性都很強。

  • two words that could be used to describe the driving ethos behind Mann's work.

    這兩個詞可以用來描述曼恩工作背後的驅動精神。

  • Of course, style is never something Michael Mann has been accused of lacking.

    當然,風格從來不是邁克爾-曼被指責缺乏的東西。

  • In fact, it's likely accusations of empty stylistics from the days of Miami Vice

    其實,這很可能是《邁阿密風雲》時代的空洞風格學的指責。

  • that made Mann insist that Heat wasn't a genre film at all

    這讓曼恩堅持認為《熱》根本不是一部類型片。

  • but a drama, drawn from the stories of a real-life detective who served as a consultant on the film.

    但卻是一部劇情片,取材於現實生活中一位擔任本片顧問的偵探的故事。

  • And it's true, the procedural and mundane elements of police and criminal activity

    而且它'是真的,警察和犯罪活動的程序性和平凡的元素。

  • are painstakingly rendered in Heat.

    是在Heat中精心呈現的。

  • And there's a pride in the fact that the locations are real locations in LA.

    而且有'的自豪感,因為這些地點是洛杉磯的真實地點。

  • This was an actual cardboard community on Terminal Island.

    這是終端島上一個真正的紙板社區。

  • This train that DeNiro gets out of is the real Blue Line of the Los Angeles MTA

    德尼羅下車的這列火車是洛杉磯MTA真正的藍線列車。

  • and his house is a real house in Malibu, by the sea.

    而他的房子是真正的房子 在馬里布,在海邊。

  • But Mann can't hide his knack for, and devotion to, style.

    但曼恩無法掩蓋他對風格的訣竅和奉獻。

  • The three locations I mentioned may be real places

    我說的三個地方可能是真的

  • but it's not an accident that in the first, a giant mound of yellow sulphur gives the space a dreamlike quality.

    但它'不是偶然的,在第一部中,一個巨大的黃色硫磺堆給空間帶來了夢幻般的品質。

  • Or that the train platform feels both alien and alienating

    或者說,火車站臺讓人感覺既陌生又陌生。

  • And as for DeNiro's home, what could call attention to itself more than this blue-suffused box of loneliness

    至於德尼羅'的家,還有什麼能比這個藍天白雲的孤獨盒子更能引起人們的注意呢?

  • cribbed from Alex Colville's 1967 painting "Pacific"

    摘自Alex Colville'1967年的畫作"太平洋&quot。

  • In other words, despite Michael Mann's protestations that this is not a genre piece

    換句話說,儘管Michael Mann'抗議說這不是一個類型的作品

  • Heat is clearly drawing from both crime and noir traditions.

    熱》顯然是借鏡了犯罪和黑色傳統。

  • What makes the film brilliant is that it uses its style and realism to comment on each other

    本片的高明之處在於它用風格與現實主義相互評說

  • and in doing so, updates the genre for a new age.

    並以此更新了新時代的風格。

  • A lot of this is done through sound in the film, by the great work in Chris Jenkins' sound design

    這其中有很多是通過影片中的聲音來完成的,由克里斯-詹金斯'聲音設計中的偉大工作來完成。

  • and Elliot Goldenthal's score.

    和Elliot Goldenthal'的分數。

  • The interplay is established right at the start, as Goldenthal's spacey, highly stylized score

    在一開始就建立了互動,因為Goldenthal'的空間,高度風格化的音樂。

  • fades into the hyperreal sounds of a hospital.

    消失在醫院的超現實聲音中。

  • And that exchange is in the soundtrack, too.

    而這種交流也在配樂中。

  • For the scene where Pacino chases down DeNiro on the highway, Mann uses a Joy Division song called "New Dawn Fades"

    對於帕西諾在高速公路上追殺德尼羅的場景,曼恩使用了Joy Division的一首名為"New Dawn Fades&quot的歌曲。

  • that has a driving rhythm that fits the moment perfectly

    恰如其分的節奏感。

  • But what I just played? That's actually not the song used in the movie.

    但我剛才播放的?那其實不是電影裡用的歌。

  • Mann commissioned a cover of "New Dawn Fades" by the electronic artist Moby

    Mann委託電子藝術家Moby翻唱了"New Dawn Fades"。

  • who super adds to this functional moment a layer of pure style.

    誰超給這個功能時刻增添了一層純正的風格。

  • Listen to the difference it makes.

    聽聽它的不同之處吧。

  • Since its beginning, there has been a tension in film noir between realism and style.

    黑色電影自始至終都存在著現實主義與風格之間的緊張關係。

  • Its origins in black and white and harsh chiaroscuro lighting attempted to communicate a gritty realism.

    它起源於黑白和嚴酷的明暗燈光,試圖傳達一種粗獷的現實主義。

  • But in this lighting and in the implicitly abstract nature of black and white, it created a style all its own.

    但在這種燈光下,在黑白的含蓄抽象中,它創造了一種屬於自己的風格。

  • Its values, however, were always traditional.

    然而,它的價值觀始終是傳統的。

  • From the start, noir has investigated the way men construct their identities from what they do.

    從一開始,黑色電影就從男人的所作所為來研究他們構建身份的方式。

  • That reflected the broad scope of men in the early 20th century, not just cops and robbers.

    這反映了20世紀初男人的廣泛範圍,而不僅僅是警察和強盜。

  • But the rise of postmodern consumerist culture, of new ways to build identity that weren't from one's career or one's relationships

    但後現代消費主義文化的興起,新的方式來建立身份,不是從一個'的職業生涯或一個'的關係。

  • made the crime film's association with style more problematic, but also more necessary.

    使得犯罪片'與風格的關聯更有問題,但也更有必要。

  • Mann confronts this head-on with DeNiro and Pacino's characters.

    曼恩與德尼羅和帕西諾'的角色直面這一點。

  • DeNiro's style, his slick suits, his minimal, empty house, reflect his lifestyle of extreme professionalism

    德尼羅'的風格,他的光滑的西裝,他的簡約,空曠的房子,反映了他的生活方式的極端專業性。

  • matched in the actual yuppie culture of the 80s, when the film was first conceived.

    與80年代實際的雅皮士文化相匹配,當電影剛開始構思的時候。

  • Pacino, too, is placed in the actual home of postmodern architect Thom Mayne, in Santa Monica.

    帕西諾,也被安排在後現代建築師託姆-梅恩位於聖莫尼卡的實際家中。

  • Mann knows that to communicate with contemporary audiences

    曼恩知道,要與當代觀眾溝通

  • to make a crime noir that is fresh and looks forward

    做出新鮮的、令人期待的黑色犯罪。

  • these stylistic choices have to be present.

    這些風格上的選擇必須要有。

  • Modern audiences firmly entrenched in this culture register style. They speak themselves through style.

    現代的觀眾牢牢地紮根於這種文化中,他們註冊了風格。他們通過風格來表達自己。

  • And it's through this attention to style that Heat can finally level a critique on its own culture.

    而正是通過這種對風格的關注,《熱力》終於可以對自己的文化進行水準的批判。

  • In the end, DeNiro and Pacino ultimately reject these new forms of identity construction.

    最後,德尼羅和帕西諾最終拒絕了這些新的身份構建形式。

  • "You can lounge around here on her sofa, in her ex-husband's dead tech postmodernistic bullshit house if you want to..."

    "你可以在這裡躺在她的沙發上,在她前夫'的死技術後現代主義廢話的房子裡,如果你想......&quot。

  • They fall back on traditional methods. Pacino looks to his work, and DeNiro looks to relationships.

    他們回到了傳統的方法。帕西諾看重工作,德尼羅看重關係。

  • "All I know is, there's no point in me going anywhere any more if it's gonna be alone."

    "我所知道的是,如果要去任何地方,我都沒有必要再去了,如果它'會是孤獨的.&quot。

  • In this way, Michael Mann's attention to style and score and soundtrack

    這樣一來,Michael Mann'對風格、配樂和配樂的關注,就顯得尤為重要。

  • and lenses and locations and wardrobe and lighting

    鏡頭、佈景、衣櫃和燈光

  • and his attention to realism in all those same categories

    以及他對所有這些類別中的現實主義的關注。

  • serve to illustrate a new social environment as well as its drawbacks.

    有助於說明新的社會環境及其弊端。

  • And that's what film noir was always meant to do at its best:

    而這也是黑色電影一直以來的最佳狀態。

  • show the underside of culture and why it's a necessary extension of the reverse.

    展示文化的底蘊,以及為什麼它是反面的必要延伸。

  • In fact, it may be the case in our modern culture that when the two sides are put face to face

    其實,在我們現代文化中可能是這樣的,當雙方面對面的時候......。

  • they don't look all that different.

    他們看起來並沒有什麼不同。

  • Hey everybody, thanks for watching. Heat is one of the best crime thrillers of all time, no question about that.

    嘿,大家好,感謝觀看。熱》是有史以來最好的犯罪驚悚片之一,毫無疑問。

  • Um, I just want to say that 2015 has been the best year of my life.

    嗯,我只想說,2015年是我人生中最好的一年。

  • You guys have helped me expand this channel to something that I never could have imagined.

    你們幫我把這個頻道擴大到了我從未想象過的地方。

  • The fact that I get to do this full-time is just beyond my wildest dreams.

    事實上,我可以做這個全職,只是超出了我最瘋狂的夢想。

  • I believe in this channel so much and the work that's happening here

    我非常相信這個頻道和這裡發生的工作

  • and I really believe that, to exist in 2016 and beyond, it has to innovate and experiment and do new things

    而我真的相信,要想在2016年及以後的日子裡存在,就必須要創新和實驗,做新的事情。

  • and that is what I'm looking forward to doing and looking forward to giving to you.

    而這也是我'期待做的事情,期待給你的。

  • Um, there's a really special relationship between the people who watch this channel

    嗯,有'的人誰看這個頻道之間的一個非常特殊的關係。

  • pledge to this channel on my Patreon page, um, and me

    在我的Patreon頁面上承諾這個頻道,嗯,還有我。

  • because there's nothing in between us, and that's a model that I talk about after every video

    因為我們之間什麼都沒有,那是我每次視頻後都會說的模式

  • but one that I really, really, really, REALLY believe in

    但我真的,真的,真的,真的,真的很相信

  • because this content is not diluted by any corporation or any brand or anything like that

    因為這些內容沒有被任何公司或任何品牌或類似的東西所稀釋

  • and that's, I think, really special, um, and I think, a new model for the way that content can be.

    和'的,我認為,真的很特別,嗯,我認為,一個新的模式的方式,內容可以。

  • So, um, I just wanted to say thank you for 2015. You guys have been awesome.

    所以,嗯,我只想對2015年說聲謝謝。你們一直很棒。

  • If you do want to pledge you can click right there and go to my Patreon page.

    如果你想認捐,你可以點擊那裡,去我的Patreon頁面。

  • Um, I will see you guys next Wednesday in 2016 and hopefully an exciting year to come.

    嗯,2016年下週三見,希望來年有一個精彩的一年。

The first thing you notice about Michael Mann's Heat is that it's all long lenses.

邁克爾-曼'的《熱》,你首先注意到的是它'都是長鏡頭。

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Heat :寫實主義與風格的完美結合 (Heat: The Perfect Blend of Realism and Style)

  • 578 27
    Ken Chang 發佈於 2017 年 07 月 08 日
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