時代經(jīng)典用詞人文篇影劇

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Cinema and Theater
影劇
auteur
大導(dǎo)演
To most moviegoers, Clint Eastwood is the man on the winning side of a. 357 Magnum,
大部分觀眾只認(rèn)為克林·伊斯特伍德是個手持３５７口徑大左輪槍、戰(zhàn)無不勝的家伙。
but intellectuals admire him as an auteur.
可是知識分子尊他為有個人風(fēng)格的大導(dǎo)演。
The fabled auteur, who can't read music but plays his clarinet weekly at Michael's Pub in New York City,
這位傳奇性的大導(dǎo)演，不會看樂譜卻每周在紐約的邁克酒吧吹豎笛，
will soon be available tooting his woodwind on compact disc.
即將推出他吹木管樂器（豎笛）的ＣＤ。
cameo
客串演出
..Hawking did a guest spot last season on Star Trek: The Next Generation,
playing a time-bending game of poker with his intellectual forebears,
Albert Einstein and Sir Isaac Newton. The cameo appearance won him almost as much popular recognition as A Brief History of Time,
the 1988 best seller ...
debut
介紹，首度出場
But Milla's debut album, The Divine Comedy, isn't getting ridiculed;
it is getting praised for her stunning vocals and her dark, intelligent lyrics,
all of which she wrote two years ago at age 16.
Schindler's List, the widely acclaimed Steven Spielberg epic about the Holocaust,
《辛德勒名單》是斯皮爾伯格廣受好評的關(guān)于猶太大屠殺的史詩，
had a gala premiere in Vienna last week that was attended by celebrities and politicians.
上周在維也納舉行盛大的首映會，名流與政客云集。
Method acting
方法派表演
Hanks so scrupulously, heroically mimes the wasting wought by the disease,
漢克斯咬緊牙關(guān)，一絲不茍地模仿艾滋病造成的虛弱，
from chest lesions to a 30-lb. weight loss,
包括胸部的傷痕與減輕３０磅的體重，
that Jonathan Demme's film ultimately becomes a documentary on the avages of AIDS-and on the masochistic machismo of Method acting.
使得鄧姆導(dǎo)演的這部片子成了一部艾滋病況的紀(jì)錄片，也記錄了他方法派演技的自虐式的男性英雄主義。
off - Broadway
非百老匯，小劇場
Indeed, she embraces it in New York Rock, an off-Broadway musical about coming to terms with the death of a loved one.
她在《紐約搖滾》中接納了這個事實(shí)。這是一出非百老匯音樂劇，內(nèi)容是在愛人死亡后心理調(diào)適的過程。
Fugad's most recent pieces, My Children! My Africa!
傅加的新作，《我的孩子，我的非洲》
and Playland, dealt with South Africa's smoldering race hattred via small-scale, personal tragedies.
與《玩樂場》是借由小規(guī)模的個人悲劇來處理南非一直無法平息的種族仇恨問題。
Each had success elsewhere in the U.S. and around the world but closed quickly off-Broadway.
在美國別處與世界各地，這兩出戲都很成功，可是在非百老匯劇場則撐不了多久。
slapstick
鬧劇
Most impotant, she uncorks an almost slapstick comic inventiveness.
最重要的是她釋放出一種接近全武行式的喜劇創(chuàng)意。
Shakespeare, who laced his plays with big fight scenes,
莎士比亞在他的戲劇中穿插了大規(guī)模的戰(zhàn)斗場面，
multiple murders, romantic bantering and plenty of slapstick, was an ace screenwriter.
多重的謀殺、情人間的機(jī)智對白、以及大量的鬧劇，可以說是第一流的電影編劇。
trailer
預(yù)告片
Those "previews of coming attractions" used to tease audiences with a few discreet scenes.
所謂“新片預(yù)告”原來只是用幾個不連續(xù)鏡頭來吊觀眾胃口，
But the new model of trailers reveals practically the whole plot-and robs the moviegoer of that cherished quality, pristine ignorance.
可是新式的預(yù)告片幾乎泄露了全部劇情，因而讓觀眾失去了可貴的特質(zhì)－對劇情一無所知的狀況。
Davidson worked in fasion (including a stint for Princess Di's couturiers) and had never considered acting before Jordan's casting director saw star quality in Jaye's careless beauty and recommended a sceen test.

從來沒考慮過要演戲，直到導(dǎo)演Ｊｏｒｄａｎ的卡司組長在他大而化之的美感中發(fā)現(xiàn)有明星特質(zhì)，建議他來試鏡。
Tekkies
星艦迷
His Star Trek series (1966-69) imagined a future of intergalactic travel and utopian possibility that spawned millions of passionately devoted fans-"Trekkies" - and six motion pictures.
想象的未來有跨星系之旅以及烏托邦式的可能性，產(chǎn)生了數(shù)百萬熱烈支持的影迷（叫做星艦迷）以及六部電影。
Hawking, who suffers from Lou Gehrig's disease and communicates by computer,
霍金患有盧蓋瑞氏癥，只有靠電腦溝通。
is a big-time Trekkie and got invited to do the star turn, which airs the week of June 21,
during a visit to the show's studios.
在參觀該劇攝影棚時。
whodunit
推理電影
In The Crying Game he offered more than a plot twist, a whodunit or whoizit; he produced a parable about love,
在《亂世浮生》一片中他給觀眾的不只是一段劇情的轉(zhuǎn)折，一部推理片而已，他創(chuàng)造了一部寓言，主題是愛、
loyalty, identity, courage.
忠誠、人的自我觀、以及勇氣。
Film noir, that '40s Hollywood style of bitter men, treacherous women and slicing shadows,
黑色電影，那種１９４０年代好萊塢的電影風(fēng)格，里面有滿腹牢騷的男人、不忠的女人和揮刀殺人的陰影，
is making spectral appearances on cable TV this summer.
今夏在有線電視上借尸還魂了。
When Artists Distort History
Lance Morrow
King Richard 3 was a monster. He poisoned his wife, stole the thone from his two young nephews and ordered them to be smotheed in the Tower of London.
Richard was a sort of Antichrist the King-"that bottled spider, that pois'nous bunchback'd toad. "
Anyway, that was Shakespeare's vesion. Shakespeare did what the playwright does: he turned history into a vivid,
articulate, organized dream- repeatable nightly. He put the couchback onstage, and sold tickets.
And who would say that the real Richard known to family and friends was not identical to Shakespeare's memorably loathsome creation?
The actual Richard went dimming into the past and vanished.
when all the eyewitnesses are gone, the artist's imagination begins to conjure.
Variations on the King Richard Effect are at work in Oliver Stone's JFK. Richard 3 was art,
but it was propaganda too. Shakespeare took the details of his plot from Tudor historians who wanted to blacken Richard's name.
Several centuries passed before other histoians began to write about Pichard's virtues and suggest that he may have been a victim of Tudor malice and what is the cleverest conspiracy of all:art.
JFK is a long and powerful harangue about the death of the man Stone keeps calling "the slain young king."
What are the rules of Stone's game? Is Stone functioning as commercial entertainer?
Propagandist? Documentary filmmaker? Historian? Journalist?
Fantasist? Sensationalist? Paranoid conspiracy-monger?
Lone hero crusading for the truth against a venal Establishment? Answer:some of the above.
The first superficial effect of JFK is to raise angry little scruples like welts in the conscience.
Wouldn't it be absurd if a generation of younger Americans, with no memory of 1963.
were to form their ideas about John Kennedy's assassination from Oliver Stone's report of it?
But worse things have happened-including, perhaps, the Warren Commission report.
Stone's movie and the Warren report are interestingly symmetrical:
the Warren Commission was stolidly, one might say pathologically,
unsuspicious, while in every scene of the Stone film conspiracy theories writhe underfoot like snakes.
In a strange way, the two reports balance one another out.
It may be ridiculous to accord Stone's movie a status coequal with the Warren report.
On the other hand, the Warren report has endured through the years as a monolith of obscure suppression,

a smooth tomb of denial. Stone's movie, for all its wild gesticulations,
at least refreshes the memory and gets a long-cold curiosity and contempt glowing again.
The fecklessness of the Warren report somehow makes one less indignant about Stone's methods and the 500 kitchen sinks that he has heaved into his story.
His technique is admirable as storytelling and now and then preposterous as historical inquiry.
But why should the Ameican people expect a moviemaker to assume responsibility for producing the last word on the Kennedy assassination when the government,
historians and news media have all pursued the subject so imperfectly?
Stone uses a suspect, mongrel art form, and JFK raises the familiar ethical and histoical problems of docudrama.
But so what? Artists have always used public events as raw material,
have taken history into their imaginations and transformed it.
The fall of Troy vanished into the Iliad. The Battle of Borodino found its most memorable permanence in Tolstoy's imagining of it in War and Peace.
Especially in a world of insatiable electronic storytelling, real history procreates,
endlessly conjuing new versions of itself.
Public life has become a metaphysical beeder of fictions.
Watergate became an almost continuous television miniseries- although it is interesting that the movie of Woodward and Bernstein's All The President's Men stayed close to the known facts and,
unlike JFK, did not validate dark conjecture.
Some public figures have a story magic,and some do not. Richard Nixon possesses an indefinable,
discomfited dark gleam that somehow fascinates. And John Kennedy, despite everything,
still has the bright glamour that works best of all.
Works, that is, except when the subject is his assassination.
That may be a matter still too sacred, too raw and unassimilated.
The long American passivity about the death in Dallas may be a sort of hypnosis-or a grief that hardened into a will not to know.
Do not let daylight in upon magic.
Why is Stone's movie different from any other imaginative treatment of history?
Is it because the assassination of John Kennedy was so traumatic, the baby boomer's End of Childhood?
Or that Americans have enshrined it as oficial tragedy,
a title that confers immunity from profane revisionists who would reopen the grave?
Are artists and moviemakers by such logic enjoined from stories about the Holocaust?
The Holocaust, of course, is known from the outset to be a satanic plot.
For some reason - a native individualism, maybe - many Americans resist dark theories about J.F.K. 's death,
and think those retailing them are peddling foreign, anarchist goods.
Real Americans hate conspiracies as something unclean.
Perhaps the memory of the assassination is simply too fresh.
An outraged movie like Stone's intrudes upon a semipermanent mourning.
Maybe the subject should be embargoed for some period of time, withheld from artists and entertaines,
in the same way the Catholic Church once declined to consider sainthood until the person in question had been dead for 50 years.