But how does that work to figure it out?

但如何才能弄明白呢？

We took a look at some of these scenes that did it best.

我們來看看其中一些做得最好的場景。

These are our picks for the seven scariest moments of all time kicking us off at number seven.

以下是我們評選出的有史以來最恐怖的七個時刻，其中第七個是最恐怖的時刻。

Let's get it out of the way.

讓我們把話說清楚。

The jump scare.

跳樓驚魂

People complain a lot about jump scares in horror films.

人們經常抱怨恐怖電影中的跳躍式驚嚇。

And if these people are to be believed, jump scares are played out, but we don't think that's true.

如果這些人是可信的，那麼跳樓驚魂就會上演，但我們認為事實並非如此。

We think that bad jump scares are played out mostly because the audience is way way ahead of the filmmakers.

我們認為，跳樓驚魂之所以被玩壞，主要是因為觀眾遠遠走在了電影製作者的前面。

We see those hiding spots a mile away but filmmakers who can keep ahead of expectations, who can put jump scares where we least expect them.

我們在一英里之外就能看到那些藏身之處，但電影製作人卻能領先於人們的預期，在我們最意想不到的地方製造驚嚇。

That's what we love says to us on some deep subconscious level.

這就是我們的愛在潛意識深處對我們說的話。

That place you thought you were safe.

那個你以為安全的地方

Yeah, there's danger there too.

是的，那裡也有危險。

Think insidious is from behind a head Friday the 13th.

認為陰險的人來自 13 號星期五。

From in the water.

從水中

The rings from beyond a cut.

一刀之外的戒指

The descent in the darkness carries below ground.

在黑暗中下墜到地面以下。

The fellowship of the rings right in front of us and even the cabin in the woods title.

指環王之戰就在我們面前，甚至還有林中小屋的稱號。

However, for number seven, we've got to give it to Jaws, even when you know it's coming, you almost don't know it's coming and sure the sound helps it along.

然而，在第七項中，我們必須把它歸功於《大白鯊》，即使你知道它要來了，你也幾乎不知道它要來了，當然，聲音會幫助它前進。

But the real genius here is that Jaws sneaks around our expectations by not even letting us think.

但《大白鯊》真正的天才之處在於，它甚至不讓我們思考，而是悄悄地繞過了我們的期望。

It's a horror movie.

這是一部恐怖電影。

It's a horror in disguise, a low key horror that doesn't have any of the surface signifiers to warn us to keep our guards up.

它是一種偽裝的恐怖，一種低調的恐怖，沒有任何表面符號來警告我們保持警惕。

So we sit back, relax and spend our time watching it like an action film or a disaster film or maybe even a thriller.

是以，我們坐下來，放鬆心情，像看動作片、災難片，甚至驚悚片一樣消磨時光。

But we're not sniffing out jump scares.

但我們並沒有嗅到驚險刺激的味道。

So when one does emerge, it's all the better.

是以，如果真的出現了，那就更好了。

Next up at number six, we're moving from surprise to suspense and where the jump scare hits us where we don't see it coming.

接下來是第六項，我們將從驚喜轉向懸念，跳躍式驚嚇會在我們意想不到的地方出現。

The suspense scare hits us where we do.

懸念恐慌擊中了我們的要害。

Well, almost do suspense is really just fear of the unknown anxiety about the future.

其實，幾乎所有的懸念都是對未知的恐懼，對未來的焦慮。

You take your protagonist, you confront them with the terrifyingly deadly outcome and then inject a ambiguity into the mix.

你讓主角面對可怕的致命結果，然後在其中注入模糊性。

It's the closet in Halloween.

這是萬聖節的壁櫥。

It's the bathtub in Lady Aoli, the hallway in nos frau the basement in silence of the lands and the ending of wreck.

它是《Lady Aoli》中的浴缸，是《nos frau》中的走廊，是《寂靜之地》中的地下室，也是《殘骸》的結尾。

And while those all make us wet our collective drawers, we think that Zodiac takes the wet drawer kick.

雖然這些都會讓我們溼透抽屜，但我們認為《十二生肖》更能讓我們溼透抽屜。

This tip is how you got it in your head.

這個提示就是你把它記在腦子裡的方法。

That Rick is the zodiac.

那個瑞克就是黃道十二宮。

That in the poster.

在海報中。

The poster, the poster that Rick drew.

海報，裡克畫的海報。

The handwriting is the closest that we have ever come to a match.

筆跡是我們找到的最接近匹配的筆跡。

Rick didn't draw any posters.

裡克沒有畫任何海報。

No, he drew this one.

不，這個是他畫的。

Mr Graysmith.

格雷史密斯先生

I do the posters myself.

我自己做海報。

That's my handwriting.

這是我的筆跡。

I won't, I won't take any more of your time.

我不會，我不會再耽誤你的時間了。

Why don't I just go and find out when we play that film?

我為什麼不在我們播放那部電影時去看看呢？

But that's all right.

不過沒關係。

It's not a problem just down in the basement.

只是在地下室就不是問題了。

Not many people have basements in California.

在加州，沒有多少人有地下室。

I do zodiac devotes its entire plot up to this point building up a terrifying impression of the killer and teaching us subtle clues that might identify him.

黃道十二宮》在這之前的整個情節都在為凶手建立一個可怕的印象，並告訴我們可能識別他的微妙線索。

And then when all of a sudden, Bob Vaughan starts ticking all the clue boxes, we can't help but recall that terrifying reputation he now might possess while Fincher is as always pitch perfect in his execution of the scene.

當鮑勃-沃恩突然開始勾選所有的線索框時，我們不禁回想起他現在可能擁有的恐怖名聲，而芬奇則一如既往地完美演繹了這一幕。

Building the suspense into a fever pitch of terror through camera and editing an audio.

通過鏡頭和音頻編輯將懸念營造到恐怖的狂熱程度。

We think the reason it's so effective is that while we might be yelling, don't go down there.

我們認為，它之所以如此有效，是因為我們可能會大喊 "不要下去"。

You idiot at the screen.

你對著螢幕傻笑。

He's not an idiot.

他不是白痴。

He's not walking down there without any sense, but in spite of his sense, his character is just as afraid as us.

他不是毫無理智地走下去的，儘管他有理智，但他的性格和我們一樣害怕。

But his decision to press onward is completely in keeping with who he is curious and obsessive to a fault and the best part, despite the distinct probability of getting super murdered, we're so curious that we want to go down there with him too.

但他繼續前進的決定完全符合他的個性，他的好奇心和執著到了極點，最重要的是，儘管他很有可能被超級凶殺，但我們還是非常好奇，想和他一起下去看看。

At number five, we've got a twist on suspense that takes it one step further.

排在第五位的是一個懸念的轉捩點，讓懸念更進一步。

It's not the suspense that comes from knowing something bad might happen, but the dread that comes from just kind of suspecting that it might.

這不是因為知道可能會發生壞事而產生的懸念，而是因為懷疑可能會發生壞事而產生的恐懼。

It's a feeling, not a thought.

這是一種感覺，而不是一種想法。

It's a visceral uneasiness, a nameless anxiety, not a conscious objection.

這是一種內在的不安，一種無名的焦慮，而不是有意識的反對。

Our emotions are telling us to feel suspense, but our intellects got no reason to confirm it in stark contrast to the surprise of the jump scare.

我們的情感告訴我們要有懸念，但我們的理智卻沒有理由去確認它，這與跳樓驚魂的驚喜形成了鮮明對比。

This succeeds on being familiar.

它的成功之處在於讓人耳熟能詳。

It's usually hidden away in the way the story is told.

它通常隱藏在故事的敘述方式中。

Not the story itself.

而不是故事本身。

It's the imperceptible, an inexplicable shift in the music.

這是音樂中難以察覺、無法解釋的變化。

It's the shot that's holding way way too long.

是拍攝時間太長了。

It's the meta narrative understanding that the filmmakers have got to do something bad sometime soon.

這是一種元敘事的理解，即電影製作人必須儘快做些壞事。

It's right before we meet Leatherface in Texas Chainsaw massacre.

就在我們見到《德州電鋸殺人狂》中的 "皮臉 "之前。

It's the first kill in Jaws.

這是《大白鯊》中的第一場殺戮。

It's most of the entirety of the Blair Witch project.

這是《女巫布萊爾》項目的大部分內容。

It's the hospital scene in Exorcist three.

這是《驅魔人3》中的醫院場景。

It's every part in a movie where the horror strings swell for no goddamn reason other than that's what they do.

在電影中的每一個部分，恐怖的弦都會無緣無故地繃緊，因為它們就是這樣做的。

However, our favorite version of this might just be the diner scene from Mulholland Drive.

不過，我們最喜歡的版本可能是《穆赫蘭道》中的餐廳場景。

You came to see if he's out there to get rid of this God awful feeling right?

你來看看他是不是在外面 好擺脫這種可怕的感覺，對吧？

Then this scene is such a perfect example because while we're feeling it, watching it, Patrick Fischler's character is feeling it, living it and there's perhaps no one better at executing it than David Lynch.

這個場景就是一個完美的例子，因為當我們在感受它、觀看它的時候，帕特里克-費施勒飾演的角色也在感受它、生活它，也許沒有人比大衛-林奇更擅長演繹它了。

He sets us up with a brilliantly detailed story of a dream, the illogical, emotional terror of it and then prods us through it.

他用一個精彩詳盡的故事為我們講述了一個夢境，以及夢境中不合邏輯的、情感上的恐怖，然後引導我們去經歷它。

Us no reason to fear anything except that we do with the reverie sound creeping drone and lingering POV camera.

我們沒有理由害怕任何東西，除了遐想的聲音、蠕動的無人機和揮之不去的 POV 攝影機。

He gives us subtle emotional cues to feel uneasy.

他給了我們微妙的情感暗示，讓我們感到不安。

Exactly like the memory of a dream mic.

恰似夢中麥克風的記憶。

So when the jump scare at the end confirms our nonsensical fears, it turns our whole world upside down.

是以，當結尾處的驚險一跳證實了我們無稽的恐懼時，我們的整個世界都被顛覆了。

Moving forward to number four, we're turning away from those scares that play with our expectations and anxieties.

進入第四個環節，我們將遠離那些玩弄我們的期望和焦慮的恐懼。

And instead looking at the ones that frighten us on a primal level.

而不是去看那些讓我們感到恐懼的原始層面的東西。

And first up, we want to talk about the grotesque, the shocking perversion of the human body.

首先，我們要談的是人體的怪誕和令人震驚的變態。

There's something intrinsic to human nature that makes looking at the distorted human form horrifying.

人性中固有的一些東西讓人看到扭曲的人形就會感到恐怖。

It's the reason for the uncanny valley.

這就是 "不可思議谷 "出現的原因。

It's a fate worse than death.

這是比死亡更可怕的命運。

A waking death.

醒著的死亡

It plays on our basic fear of mutilation are repressed, denial of the fallibility of our body.

它利用了我們對肢體殘缺的基本恐懼和對身體缺陷的否認。

It's the distorted figure like in Jacob's Ladder, the others safe in the Dark Crystal.

就像《雅各布的天梯》裡的那個扭曲的人形，而《黑暗水晶》裡的其他人則很安全。

It's torture porn like eyes without a face, martyrs, misery or human centipede.

這是折磨人的色情，就像沒有臉的眼睛、殉道者、苦難或人體蜈蚣。

It's body horror like American werewolf in London.

這是一部類似《美國狼人在倫敦》的人體恐怖片。

The thing Tetsuo eraserhead video drone and Pinocchio.

哲夫橡皮頭視頻無人機和匹諾曹。

That's right.

這就對了。

Pinocchio for our number four pick.

皮諾曹是我們的四號人選。

We think it's gotta be the demonic perversion of a little girl from the exorcist shit.

我們認為，這一定是驅魔人電影中小女孩的惡魔變態。

I love um oh my God, that the exorcist is brilliant with its body horror because it's not as much the form of the human body that's distorted but its movement and it doesn't just pick any old victim, a devil with red skin and horns that we can deal with.

我喜歡《驅魔人》在人體恐怖方面的出色表現，因為它扭曲的並不是人體的形態，而是人體的動作，而且它並沒有隨便挑選一個受害者，一個我們可以對付的紅皮長角的魔鬼。

But a little girl in pajamas feels so evil.

但一個穿著睡衣的小女孩給人的感覺是如此邪惡。

The distance between the fantasy of the story and the reality of our lives is collapsed.

故事的幻想與我們生活的現實之間的距離被拉近了。

It's playing on the border of the familiar all the while making it dreadfully horrifyingly strange.

它在熟悉的邊界上玩耍，同時又讓人感到可怕、恐怖和陌生。

There's something wrong, something deeply inhumanly wrong and it's hard to watch, which is exactly why we want you to watch it.

這裡面有些問題，有些非人道的大問題，讓人很難看下去，而這正是我們想讓你看下去的原因。

The human form isn't the only thing movies can pervert.

人的外形並不是電影唯一可以變態的東西。

It's often just as effective to pervert the human psyche.

它往往能同樣有效地扭曲人的心理。

This time, your character is even more familiar, but something about the way they act is just off.

這一次，你的角色更加熟悉，但他們的行為方式有些不對勁。

It's creepiness, eeriness.

令人毛骨悚然，令人毛骨悚然。

It's the chilling sensation of stranger danger.

這是陌生人危險帶來的不寒而慄的感覺。

Think the beach from under the skin, the end of psycho, the kitty kitty kitty kitty from audition.

想想《皮囊之下》的海灘、《精神病患者》的結尾、《試鏡》中的 kitty kitty kitty。

It's Frank from Blue Velvet, the pedophile from gone baby gone.

是《藍絲絨》裡的弗蘭克，《消失的寶貝》裡的戀童癖。

And that goddamn air conditioner that ruined my childhood from the brave little toaster.

還有那臺毀了我童年的空調，從勇敢的小烤麵包機開始。

They're all terrifying, twisted psyches and innocent looking packages, things we've deeply repressed as part of our everyday socialization and the scariest of them all the death drive.

它們都很可怕，有扭曲的心理和無辜的外表，有我們在日常社會化過程中深深壓抑的東西，還有最可怕的死亡驅力。

If Freud is to be believed, the death drive is a compulsion towards self destruction.

如果相信弗洛伊德的話，死亡驅動力就是一種自我毀滅的強迫。

It is repressed, subverted, converted, defeated.

它被壓抑、被顛覆、被轉換、被打敗。

So when we see someone enact this self destruction directly upon themselves, it's the absolute worst.

是以，當我們看到有人直接對自己實施這種自我毀滅時，這絕對是最糟糕的。

Now, we too be the monster by whom we are victimized.

現在，我們也成了被我們傷害的怪物。

We can't be trusted because somewhere deep inside our subconscious is a death drive waiting to escape.

我們不值得信任，因為在我們潛意識深處的某個角落，有一股死亡的驅動力等待著我們逃離。

Think hellraiser or anti-christ or mirrors or the omen or again with the exorcist, they shock us in a way little else can.

想想《地獄魔王》、《反基督者》、《鏡子》或《預兆》，再想想《驅魔人》，它們都能以一種鮮為人知的方式震撼我們的心靈。

But if there's an award for most scarring of the bunch, it has to go to Cachet.

不過，如果要評選 "最傷痕累累獎 "的話，那一定非《疾馳》莫屬。

But before it does, this is a serious spoiler for an incredible film and an immensely disturbing sight.

但在此之前，這將是一部令人難以置信的電影的嚴重劇透，也是令人無比不安的景象。

So proceed with caution.

是以，請謹慎行事。

Yeah, because you spit, you'll see that one right there.

是的，因為你吐口水，你就會看到那一個。

Auto.

汽車

OK.

好的。

KK seven DM.

KK 7 DM。

Yes, you do.

是的，你會的。

She with me.

她和我在一起

You s Mali we pas death just comes so suddenly this is a spine chilling expression of immense pain.

你是馬里人，死亡來得如此突然，這是一種令人不寒而慄的巨大痛苦的表達。

A disturbing reminder of the fragility of life.

令人不安地提醒人們生命的脆弱。

A psychological jump scare.

心理跳躍式驚嚇

It is grotesque of the body.

這是身體的怪誕。

It is grotesque of the mind.

這是心靈的怪誕。

It is danger from where we least expected it and it's absolutely horrifying.

危險來自我們最意想不到的地方，絕對令人毛骨悚然。

There's no fancy camera work, no unknown outcome, no streaking score.

沒有花哨的鏡頭，沒有未知的結果，沒有連貫的得分。

Just a man in his terrible pain.

只是一個承受著巨大痛苦的人。

Way too close for comfort.

太近了，不舒服。

Closing in at number two, there's a certain kind of scare that besets upon us from all sides and not just the protagonist as proxy but seemingly us, the viewers themselves, in contrast to the jump scare where it's over in an instant where the various forms of suspense that toy with the idea that something bad might happen.

排在第二位的是一種從四面八方向我們襲來的驚嚇，這種驚嚇不僅僅是主角作為代理人的驚嚇，似乎也是我們這些觀眾自己的驚嚇，與跳樓自殺式的驚嚇形成鮮明對比，跳樓自殺式的驚嚇瞬間就結束了，而各種形式的懸念則是在玩弄可能會發生壞事的想法。

This kind of scare puts us right in the middle of that bad thing happening right now and leaves us there.

這種恐慌讓我們置身於正在發生的壞事之中，並將我們留在那裡。

The shower sequence psycho is the perfect prototype.

淋浴環節的精神病人就是完美的原型。

We are being stabbed over and over.

我們一次又一次地被刺傷。

Annihilation is approaching from all sides.

毀滅正從四面八方逼近。

Wherever the camera turns, there's a knife and it's not just the characters in the story that are assaulting us.

鏡頭所到之處，刀光劍影，襲擊我們的不僅僅是故事中的人物。

The editing and the music are almost literally cutting into our experience.

剪輯和音樂幾乎就是在切割我們的體驗。

It's horrifying.

太可怕了

However, for our number two pick, we're even more impressed by the ending of Nicholas Rogue's don't look now.

不過，對於我們的第二名，尼古拉斯-羅格的《別看現在》的結局給我們留下了更深刻的印象。

It's ok, but it's ok.

還好，還好。

Mhm And a friend.

還有一個朋友

Yeah.

是啊

Yeah.

是啊

It's simultaneously a physical annihilation and a psychological.

這既是身體上的毀滅，也是心理上的毀滅。

There's a realization embedded in his dying thoughts, a realization that destroys his former worldview.

他的臨終遺言蘊含著一種覺悟，這種覺悟摧毀了他以前的世界觀。

But even as the montage gives us logic and story, it's more about the effect of the cutting is assaulting us with all kinds of frightening imagery, evocative imagery.

但即使蒙太奇給我們提供了邏輯和故事，它更多的是通過各種令人恐懼的意象、令人回味的意象來達到剪輯的效果。

It's a violent rush of imagery.

這是一種猛烈的急速想象。

It attacks us as we watch it, the church bells assault us as we listen.

它在我們觀看時攻擊我們，教堂的鐘聲在我們聆聽時攻擊我們。

There's little time dedicated here to the surprise and the suspense of it and more to the abject or of death.

在這裡，很少有時間去表現驚喜和懸念，更多的是表現死亡的卑微或死亡的殘酷。

And that's what this sequence is a cinematic interpretation of the experience of death.

這就是這部電影對死亡體驗的詮釋。

A final descent of the symbolic into bloody madness.

象徵性的最後墮落，陷入血腥的瘋狂。

At the core of all this fear of all this suspense and surprise and terror and horror and piercing violins and flashing frames is one thing, death, literally or symbolically, each of these scares confronts us with the threat of death.

所有這些恐懼，所有這些懸念、驚喜、恐怖、驚悚、刺耳的小提琴聲和閃爍的畫面，其核心都是一樣東西，那就是死亡。

The experience of death.

死亡的體驗

The fallibility of our defense is in the face of death and where our number two assaulted us with the cataclysmic violence of death.

我們防禦的弱點是面對死亡，我們的二號人物用死亡的災難性暴力襲擊了我們。

Our number one tries to overwhelm us with something even worse than nothing.

我們的頭號敵人試圖用比什麼都沒有更糟糕的東西來壓倒我們。

The utter hopelessness and emptiness and bleakness and suffocation and meaninglessness of the void and we won't beat around the bush here.

空虛、絕望、淒涼、窒息和毫無意義，我們在這裡就不繞彎子了。

Although there are moments in Donny Darko where we sneak a feel of this and we think Kubrick also manages a pretty dreadful sense of doom.

雖然在《唐尼-達科》中，我們也有偷偷感受到這一點的時候，但我們認為庫布里克也營造出了一種相當可怕的末日感。

At the end of 2001, our number one pick has to be from the shining, it is rolling death.

2001 年底，我們的頭號人選必須是閃閃發光的人，這是滾滾而來的死亡。

It is overwhelming our senses, it is inescapable.

它壓倒了我們的感官，讓我們無法逃避。

We are immobile in the face of it.

面對它，我們一動不動。

It is inter cutt with flashes of danger, flashes of terror in its face but with no sound, we are powerless to even scream in the face of the hypnotizing drone.

畫面中閃爍著危險的光芒，恐怖的氣息撲面而來，但卻沒有任何聲音，面對催眠的無人機，我們甚至連尖叫都無能為力。

It is slow and simple and quiet and completely abstract.

它緩慢、簡單、安靜，完全抽象。

We are not really afraid of drowning in a molasses speed, tsunami of blood, but something about it just contains the feeling of existential dread in the best possible way so that we can't help but experience our entire self being swallowed up by the inevitability of death, which is why we think it's one of the scariest moments of all time.

我們其實並不害怕淹沒在血海之中，但其中的某些東西卻以最好的方式蘊含著存在的恐懼感，讓我們情不自禁地體驗到整個自我被死亡的必然性所吞噬，這就是為什麼我們認為它是有史以來最可怕的時刻之一。

So what do you think?

你怎麼看？

Do you disagree with any of our picks?

您不同意我們的選擇嗎？

Do we forget the moment that's most often fueling your nightmares.

我們是否忘記了最常助長你噩夢的那一刻？

Let us know in the comments below and be sure to subscribe for more Cineflix movie list.

請在下方評論中告訴我們，並確保訂閱更多 Cineflix 電影列表。