they're born, they become popular, they exhaust themselves,

他們的出生，他們變得流行。 他們用盡了自己的力量。

and then, if they're important enough, they transform.

然後，如果他們足夠重要，他們就會轉變。

Hugh Jackman's 17-year tenure as Wolverine,

休-傑克曼17年的金剛狼生涯。

I think, bookends two important milestones in the superhero film genre.

我認為，為兩個重要的里程碑畫上句號 在超級英雄電影類型中。

2000's "X-Men", directed by Bryan Singer, was effectively the start of the superhero craze

2000年的《X戰警》，由布萊恩-辛格導演。 實際上是超級英雄熱潮的開始。

that's come to dominate Hollywood for nearly two decades.

霸王硬上弓 近二十年來，。

And now, 2017's "Logan", directed by James Mangold, represents a response

而現在，2017年的《羅根》，由? 詹姆斯-曼戈爾德，代表了一種迴應

to the public's exhaustion with that dominance.

到公眾對這種主導地位的厭倦。

If you want to understand how genres change,

如果你想了解流派的變化。

the writer to look at is definitely John Cawelti,

要看的作家肯定是約翰-卡維爾蒂。

whose famous essay on generic transformation is, I think, a good rubric for what's happening in "Logan."

他那篇著名的關於通用轉換的文章，我想，是《羅根》中發生的事情的一個很好的參考標準。"

Cawelti is basically interested in what occurs when genre conventions become so well-known

卡維爾蒂基本上對當流派慣例變得如此知名時，會出現什麼情況感興趣。

that the audience demands something new.

觀眾需要新的東西。

What forms does that change take?

這種變化有哪些形式？

Well, Cawelti identifies four: burlesque, nostalgia, demythologization, and reaffirmation.

好吧，Cawelti確定了四種：滑稽戲、懷舊、解構和重申。

Burlesque is essentially a ridiculous exaggeration, or a parody of genre conventions.

伯樂本質上是一種可笑的誇張。 或對流派慣例的模仿。

To finish Leo Braudy's quote from the start of this video,

說完利奧-布勞迪在這段視頻開頭的一段話。

"Genres turn to self-parody to say, 'Well, at least if we make fun of it for being infantile, it will show how far we've come.'"

"流派轉而自嘲說，'好吧，至少如果我們嘲笑它幼稚，就能說明我們已經走了多遠'。"

Mel Brooks is, of course, a master at this kind of thing, and not just for westerns.

當然，梅爾-布魯克斯是這種事情的高手，不僅僅是西部片。

Moments of burlesque can be found in serious movies too

可以找到滑稽戲的瞬間 嚴肅的電影裡也有

when a trope is made to suddenly look ridiculous, undercutting the fantasy with reality.

當一個特例突然看起來很可笑，用現實削弱了幻想。

In the superhero genre, "Deadpool", a film that helped pave the way for "Logan", is a burlesque through and through.

在超級英雄類型片中，《死侍》，一部電影 為《羅根》鋪平了道路。 是一個徹頭徹尾的滑稽戲。

"Superhero landing. She's gonna do a superhero landing, wait for it!"

"超級英雄登陸。她要來個超級英雄登陸，等著吧！"

"Whoooo! Superhero landing! You know, that's really hard on your knees... totally impractical, they all do it."

"喔喔!超級英雄落地!你知道嗎，這對你的膝蓋真的很難......完全不實用，他們都會這樣做。"

Nostalgic films, the ones that are good, anyway, do more than evoke a romanticized past:

懷舊的電影，反正是那些好電影。 不僅僅是喚起浪漫的過去。

they update tried-and-true story lines with contemporary elements;

他們更新了屢試不爽的故事線 具有現代元素。

they make the audience aware of the relationship between past and present.

它們使觀眾意識到過去和現在的關係。

Cawelti cites "True Grit," but Shane Black's "Kiss Kiss Bang Bang" fits the bill as well,

卡維爾蒂引用了《真膽》，但沙恩-布萊克的《吻吻砰砰》也符合要求。

a hard-boiled detective story in which many of the tropes are deromanticized,

驚天動地的偵探故事，其中包括 許多典故都被去魅了。

but the story ultimately follows the same beats of discovery and heroism.

但故事最終還是要按照 同樣的發現和英雄主義的節奏。

"All done." [sighs]

"都做好了。"[嘆氣]

Demythologized films are the most complex of the bunch.

脫胎換骨的電影是 最複雜的一批。

They subject popular myths and conventions to a reality that undercuts and exposes them as inadequate, or even harmful.

他們以流行的神話和傳統為主題 現實中，他們被削弱和暴露了。 是不充分的，甚至是有害的，

Cawelti's archetypal example of this is Roman Polanski's "Chinatown,"

卡維爾蒂的典型例子就是如此。 是羅曼-波蘭斯基的 "唐人街"。

a film that follows the hard-boiled detective genre of classic films like "The Maltese Falcon" or "The Big Sleep,"

一部沿襲了《馬耳他獵鷹》或《大睡》等經典電影硬漢偵探風格的電影。

until events become so dark and twisted and devoid of moral content,

撲朔迷離 而缺乏道德內容。

that justice is never served, and the detective is left severely traumatized.

正義永遠不會得到伸張。 並給偵探留下了嚴重的創傷。

Another movie like this would be the Coen Brother's "No Country for Old Men",

這樣的電影還有一部 科恩兄弟的《老無所依》。

in which the lawman of the New West, Tommy Lee Jones, not only fails to capture the villain,

在其中，新西部的法律工作者湯米-李-瓊斯不僅沒有抓住反派。

but fails to understand him.

卻未能理解他。

''But I don't wanna push my chips forward

'但我不想把籌碼往前推啊

and go out and meet something I don't understand"

並走出去，遇到一些我不明白的事情"

The final transformation is the reaffirmation of myth:

最後的轉變是對神話的再次肯定。

the kind of film that subverts genre

顛覆性的電影。

like the demythologized film, but, in the end, choses to reafirm the myth

就像被解構了的電影，但是，最後卻選擇了重新確認神話。

not as something that's real,

而不是作為真實的東西。

but as something that we need to believe.

但作為我們需要相信的東西。

I wonder if you can think of a superhero film that might fall into that category...

不知道你能不能想到一部超級英雄電影，可能屬於這一類......

So, what is "Logan"?

那麼，什麼是 "羅根"？

Clearly, it represents some shift in this extraordinarly popular genre.

顯然，這代表著這種格外流行的類型的某種轉變。

If "Deadpool" signals a self-awareness that

如果說 "死侍 "發出的信號是一種自我意識，那麼

the myth of the superhero movie is losing a bit of its power, then

超級英雄電影的神話正在失去一點力量，那麼。

I think "Logan" is an attempt to interrogate the contours of that myth

我認為《羅根》是對這一神話輪廓的一種嘗試。

in order to see if there are any interesting directions left for it to go.

以期看看還有沒有什麼有趣的方向可以去。

Director James Mangold is a movie buff,

導演詹姆斯-曼戈爾德是個電影迷。

and something that's really interesting about "Logan"

還有關於 "羅根 "的一些有趣的事情。

is how he uses one genre to understand another:

就是他如何用一種流派來理解另一種流派。

Mangold states "Logan"s key theme via a scene from "Shane", one of the most popular

Mangold通過《Shane》中的一個場景闡述了 "Logan "的主要主題。

and acclaimed westerns of all time.

和譽滿天下的西部片。

"A man has to be what he is, Joey.

"一個人要有他的本色，喬伊。

Can't break the mold.

不能打破模具。

I tried it and it didn't work for me.

我試過了，但對我沒用。

We want you, Shane.

我們需要你，肖恩。

Joey, there's no living with...

喬伊，沒有生活與... ...

with a killing.

與殺戮。

There's no going back from one"

"一去不復返"

Westerns are really the perfect genre to mesure the superhero movie.

西部片確實是介於超級英雄電影的最佳類型。

The myth of the superhero is, in many ways, a reincarnation of the myth of the gunslinger.

超級英雄的神話，在很多方面都是槍手神話的輪迴。

Both are heroes who act outside the law to protect the community at large.

兩人都是為了保護社會大眾而在法律之外行事的英雄。

Mangold makes these parallels explicit in a sequence mid-way through the movie,

Mangold在電影中途的一個序列中明確了這些相似之處。

when Logan, Charles and Laura are taken in by a kindly family, the same way that Shane is taken in.

當羅根、查爾斯和勞拉被一個善良的家庭收留，就像夏恩被收留一樣。

Both Logan and Shane help the family with work and protect them from greedy bussiness interests,

羅根和謝恩都幫助家庭工作，保護他們免受貪婪的商業利益。

but, though Shane is somewhat haunted by his life as a gunslinger,

不過，雖然夏恩對自己的槍手生活有些耿耿於懷。

his purpose and the code of laws he lives by

宗旨和法則

is still necessary to protect the community in the end.

最終還是要保護社會。

In Magold's version, the violence that follows the heroe can't be contained.

在馬戈德的版本中，英雄之後的暴力是無法遏制的。

Far from the valley being saved, Logan's kindly family is mercilessly and utterly destroyed.

遠遠沒有拯救山谷，羅根善良的家庭卻被無情地徹底摧毀。

And, if the point wasn't clear, it's by none other than a clone of Logan himself.

如果還不清楚的話，那就是由羅根自己的克隆人所為。

This is the closest that "Logan" comes to demythologization

這是 "羅根 "最接近解密的地方了

The whole movie is a meditation on the violence that all superhero films implie.

整部電影是對所有超級英雄電影所蘊含的暴力的沉思。

By earning a R-rating, Magold and Jackman get to show a type of visceral brutality that complicates the

通過獲得R級評級，馬戈爾德和傑克曼可以表現出一種內臟的殘酷性，這讓《大話西遊》變得更加複雜。

heroics of Logan's past, as well as those of the X-Men , and all superheroe's.

羅根過去的英雄事蹟，以及X戰警的英雄事蹟，以及所有超級英雄的英雄事蹟。

Like it does Shane, Logan holds up the romanticized past of previous superhero movies

就像它對夏恩一樣，羅根撐起了以往超級英雄電影的浪漫化過去。

in the form of comic books.

以漫畫書的形式。

" You do know that they're all bullshit, right?

"你知道他們都是胡說八道，對吧？

Maybe a quarter of it happened,

也許有四分之一的事情發生了。

and not like this."

而不是像這樣。"

Logan is attempting to expose the inadequacy of these fantasies,

羅根試圖揭露這些幻想的不足。

trying to show that no personal moral code can wield power without risking devastation.

試圖表明，任何個人的道德準則都無法在不冒破壞性風險的情況下行使權力。

This is made painfully clear in the character of Xavier, whose aging mind, it's implied,

這一點在澤維爾這個人物身上得到了痛快的體現，他的心智老化，這是有暗示的。

may have unintentionally killed a number of inocent mutants.

可能無意中殺死了一些無辜的變種人。

But, for Logan himself, the past exploits of heroism from the other movies

但是，對於羅根本人來說，過去在其他電影中的英雄事蹟。

reamerges as trauma and nightmares.

重現為創傷和噩夢。

"[grunting]"

"[叫聲]"

In the touching with Laura near the end, he even admits to contemplating suicide.

在臨近結尾與勞拉的感動中，他甚至承認自己在考慮自殺。

"Actually, I... hum

"其實，我...哼

... I was thinking of shooting myself with it...

...我在想用它射殺自己... ...

... like Charles said."

...... 就像查爾斯說的那樣。"

In the end, Logan makes the final turn into reaffirmation:

最後，羅根做出了最後的轉折，變成了重申。

one last act of sacrificial heroics that reaffirms the myth, even after

最後的犧牲英雄行為，重申了神話，即使在之後

exposing it as inadequate.

暴露出它的不足。

You know, it makes me wonder if this is the limit of superhero movies.

你知道，這讓我懷疑這是不是超級英雄電影的極限。

It's unclear whether a film that's sought to fully demythologize this myth could ever really get made

目前還不清楚，一部力圖將這一神話完全解構的電影是否真的能拍出來。

or if the genre itself is even mature enough to handle such a thing.

或者說這個流派本身是否已經成熟到可以處理這樣的事情。

In fact, I think "Logan" leaves us with these exact questions.

其實，我覺得《羅根》留給我們的正是這些問題。

The movie itself is a conversation between nostalgia for the genre

電影本身就是一場關於懷舊風格的對話。

and our increasing frustration with its limits.

以及我們對其侷限性的日益沮喪。

More than anything, I'm just excited for what's to come.

最重要的是，我只是對未來的事情感到興奮。

Because, it's transition periods like this, as Cowelti might say,

因為，是這樣的過渡期，就像考爾蒂說的那樣。

when the really interesting things begin to happen.

當真正有趣的事情開始發生。

Hey everybody thank you so much for watching.

大家好 謝謝你這麼多的觀看。

Subscribe to this channel for more videos;

訂閱本頻道，獲取更多視頻。