新好萊塢電影類型及其動作電影外文翻譯

1、畢業(yè)設(shè)計（論文）譯文及原稿譯文題目：新好萊塢，電影類型及其動作電影原稿題目：new hollywood, genre and the action cinema原稿出處：spectacular bodies gender，genre and the action cinema新好萊塢，電影類型及其動作電影在類似無名客這樣的電影中，伊斯特伍德所扮演的人物不僅僅有一點諷刺意味。同樣也是這些低成本電影使他在二十世紀六十年代名聲鵲起。在這些影片中，人們反對西部英雄被不合時宜的改寫成反面英雄，賞金獵人和冷酷的殺手。而道德至上的西方英雄形象也只保留在早期的好萊塢影片中。與同一時期的大多數(shù)美國西部片相同，意

2、大利美國西部片講述了一個與從前不同的，別樣風格的故事。這些電影講述的故事通常使用了戲仿和諷刺的手法，同時也保證了故事細節(jié)的真實性。在某種程度上，就是依據(jù)這樣的視覺效果的傳統(tǒng)，影片青春戰(zhàn)士得以出現(xiàn)。賽爾喬萊翁在史詩巨作西部往事就大量運用了其他意大利美國西部電影詼諧幽默的視覺元素。同時在西部電影的場景中，不同民族的群體也被謹慎的呈現(xiàn)給觀眾。因此，中國，墨西哥，愛爾蘭等其他西部歷史人物也出現(xiàn)在銀屏上。在其他好萊塢小說中對美國印第安人歷史的重建保證了美國西部電影的歷史的真實性。就是在這樣的背景下，東西方成功結(jié)合在一起的電視劇功夫才有了一席之地。由大衛(wèi)卡拉丁飾演的名叫李國豪的美籍中國和尚，他獨自一人流浪

3、在美國西部。這部電視劇的創(chuàng)意一部分是來自當時香港在美國西部武俠題材的影片大獲成功的激發(fā)。雖然神秘的中國文化和宗教在影視中被追捧著，但是像我曾提到的那樣，投資商拒絕讓中國演員飾演主要角色，甚至李小龍也遭遇到一些角色的拒絕。通過中國文化在美國西部的重建，電影功夫中典型的東方形象得以被準確重塑。根據(jù)理查德馮對這些中國男人的形象的定義，認為他們作用是體現(xiàn)了“禪宗的禁欲主義”（出自bad object choices,1911,148頁）。在電影功夫中，這些形象的作用是柔化了美國西部的英雄形象，使他們俠骨柔腸，泰安自若，同時，他們武藝高強能夠?qū)谷魏蝸硖魬?zhàn)人。與此同時，好萊塢經(jīng)典的題材就是白人嬰兒或青少

4、年被印第安部落收留，最終替印第安人伸張正義的故事。這些安排使得白人處于傳統(tǒng)美國西部電影片的中心地位，但也同時試著承認民族差異也是一道風景線。美國西部片中奉為神圣的主題在其他一系列場景中也得以體現(xiàn)，從澳大利亞內(nèi)陸到城市的景觀。在這種情況下，評論家及批評家一致認為上述電影是“真正的西部電影”，只有一人認為它是“虛構(gòu)”的。這一比較將被詳細闡述。一個評論家把邁克爾溫納猛龍怪客描述成一個僅僅是西部片的翻版，僅僅是把一個人按著他自己的邏輯，改造成一個正直、自由，愛好和平的公民。new hollywood, genre and the action cinema69. more than a little

5、irony in eastwoods persona, as the man with no name, in the three dollar films which made him a star during the 1960s. in these films the western hero is prevented from seeming anachronistic through being recast as an anti-hero, a bounty hunter and amoral killer. there are only remnants of the moral

6、ly superior western hero of earlier hollywood films. the spaghetti western, in common with most contemporaneous american westerns, told a different kind of story to earlier examples of the genre. the stories typically told in these films employ both parody and irony, and a commitment to a certain au

7、thenticity in period detail. it is, in part, from such a visual tradition that young guns emerges. leones epic once upon a time in the west (1969) shares with other italian westerns an excess in visual terms which is both celebratory and parodic. this is combined with a meticulous acknowledgement of

8、 the varied ethnic groups present in the western landscape. the chinese, mexicans, irish and other historical protagonists of the west come to feature, alongside the reconstruction, in other hollywood fictions, of the history of the american indian, as guarantees of the historical authenticity of th

9、e western. it is in this context that the success of the eastern/western television series kung fu, in the early 1970s, can be located. this featured david carradine as kwai chang caine, a chinese-american shaolin priest who wanders about the old west. the idea for this series was partially triggere

10、d by the success of hong kong martial-arts films in the west at that time. images of an imagined oriental culture and religion are fetishised in the show, the producers of which, as i have discussed elsewhere, refused to cast a chinese actor in the lead role, famously turning down bruce lee for the

11、part.13 it is precisely orientalist stereotypes, through which chinese culture is constructed in the west, that are invoked in kung fu. in relation to chinese men these function in terms of what richard fung has called a desexualised zen asceticism (in bad object choices 1991: 148). in kung fu these

12、 images function to partially feminise the western hero, who becomes a gentle, pacifist figure who is able, at the same time, to take on anyone who challenges him. in the same period, a favourite hollywood theme was that of a white child or adolescent, taken in by an indian tribe, who is ultimately

13、able to speak on their behalf.14 these strategies keep white men at the centre of the old west, whilst attempting to acknowledge a landscape of racial difference. the themes enshrined within the western have been preserved in a range of settings, from the australian outback to the urban landscape. in this context, it is common to find reviewers and critics who remark of a given film that it is really a western, only one that is presented to us in disguise. the comparison can, it seems, be pursued to some lengths. a re