楚門的世界 英語影評(píng)

PAGEPAGE2OnInfiltrationofEscapismABriefCommentonTheTrumanShowAbstract:TheTrumanShow1deservesspectacularappreciationforitsuniqueapproach—intercuttingshotsbetweenprogramofTrumanand"reallife"footageofthedirectorandspectators.ThespecialtyofpresentationsufficientlylaysoutEscapisminPost-Modernismlayerbylayer.FollowedabriefintroductionabouttheintercuttingapproachinthismoviesandEscapism,thispaperconcentratesonthecause,manifestationandinfluenceofEscapismfromtheshiftinganglesofview:Truman,directorandspectators.ThenitdrawsasummarizationthatEscapismhasoverallinfiltratedintohuman’slife.Keywords:TheTrumanShow,Escapism,shiftinganglesofview,intercutting,Post-ModernismTheTrumanShow,asatypicalmilestoneofthemovieindustry,putsothertraditionalgenresintheshadowbyintercuttingthereal-timedocumentarybetweenprogramofTrumanand"reallife"ofthespectatorsanddirector.Firstly,themoviechieflycentralizesontheTrumanBurbank’sangleofview.Theprotagonist,whoseentirelifeisbroadcastedinahugelypopular24-hour-a-dayTVseries,isgraduallyawarethathisexistenceiscapturedbyconcealedcamerasandtrieshisbesttogetawayfromtheauthoritativedomination.Secondly,themoviealternatelyintercutstheshottotheangleofviewofspectators,whoarekeepingawatchfuleyeonTruman’severyparticulargestureandbehaviorforescapingfromtheperceivedunpleasantaspectsofdailylife.Thirdly,themovieshiftsthescenetodirector’sangleofview.ItrevealsthathismotivationofcreatingthecheerfulcommunityofSeahaven(amaterializationof“paradise”)istorunawayfromthehypocrisyandcomplexityoftheworldoutside2.Inshort,whateverangleofviewthemoviesetsout,itgivesembodimentofEscapismallthetimeandalltheway.AsforEscapism3,itisamentaldiversionortendencytoseekdistractionandrelieffrombanalrealityintheeraofPost-Modernism4.Althoughdifferentreferencebooksprovidedifferentillustrations5,severalcharacteristicsareendorsed.Foronething,EscapismisregardedasaninherentexpressionofPost-Modernism,forurbanization,industrializationandtechnologicalexistenceshaveremovedpeoplefromtheirbiologicallynormalnaturesandtherigorsofdailylife.Foranotherthing,itisunilateraltoassertthatescapismcarriesanextremeandnegativeconnotation,suggestingescapistsaredepravedorsorrowful.Infact,escapismalsoindicatesoptimisticsignificanceforpositiveescapistswithaninabilityorunwillingnesstoconnectwiththeworldmeaningfully.Relatedwiththismovie,threekindsofEscapism,namely,Truman’spositiveEscapism,director’sextremeEscapismandspectators’negativeEscapismhavebeeninfiltratingintohuman’slife.Thecause,manifestationandinfluenceofwillbeanalyzedindetail.FromTruman’sangleofview,Escapismisendowedwiththepropertyofpositivenessandhasdoneagreatfavortoobtainfreedom.Firstofall,hisEscapismoriginatesfromhisconsciousnessofbeingcontrolledandtheconspiraciesoflife.Asweknow,hehasgrownupandlivedinafaketowngettingalongwithactors.Thetownisenclosedinagiantdomewithhigh-techsimulationsofsunandsky,inwhichtherainandwindareproductionsofthespecialeffects.Inthebeginning,heknowsnothingthattherestofhumanitywatcheshimina24-hour-a-dayrealityprogramming.Fortunately,hegraduallyfiguresoutthathissurroundingsarefullofstagedscenesandevents.Hence,Hisintentiontoescapeisputintopracticeasanadequatedynamicanddrivingforcetoconverttheboundsituationandobtainthepreciousfreedom.Aboveall,hispositiveEscapismprovidestheamplemotivationtofleethefakeandholdtheauthenticlifeinhisarms.ItishispositiveEscapismthatmakeshimcomeupagainstbothhisownfearsofwaterandtheobstaclesputinhiswaybytheproducer-directorwhohasmadebillionsoftrapsinastagesetandplayingaGodroleinhislife.Fromdirector’sangleofview,Christof’sextremeEscapismhasburiedhishumanityandconscience,whichseedinhiscollapseinessence.Inthebeginning,hisEscapismstemsfromhisdespairtowardsdegeneratemodernsociety.today'saffluentsocietiesareindangerofbecomingrottenandhypocriticalenvironmentsundertheimpactofurbanization,industrializationandtechnologicalexistencesetc.Inthemovie,Christofshowshishopelessnesstowardsrealityseveraltimes.Therefore,hisEscapismisputintoeffectasapassagewaytorejectandisolatefromthereality,Aswecansay,hechoosesanextremewaytocreatethelifelikesimulationsandstorylinesfromthehigh-techfacsimileofasunthatbenevolentlybeamsdownonTrumantothemocksincerityoftheactorswhoTrumanmistakenlybelievesishisfamilyandfriend.AllthathehasdoneembodieshisabnormalandfreakEscapismfromreality.Insumup,Christof’sextremeEscapismleadstohisdeformityofpersonalityandfinalbreakdown.Fromspectators’angleofview,itisthenegativeEscapismthatgivesrisetotheircrazedbehaviorofbeingaddictiveinpeepingTruman’slifeimmorally.Firstly,spectators’negativeEscapismderivatesfromtheirdesiresofgettingoutoftheunpleasantsufferingspessimistically.Aswecanobserve,althoughthefansmayliveverynormallives—havingchildren,relationshipsandregularjobs,theyspendtheirregulartimeescapingintoanidealizedworldandlosetheirownmindinthemade-upshow.AsTruman’sfaterisesandfalls,thespectators’emotionfluctuatesfiercely.Theyaredevotedenoughtothrowthemselvesintotheseriesandtreatthemselvesasactors.Consequently,spectatorswhogetexcessivelyinvolvedasfansofTrumanshowarepursuinganunhealthylevelofescapism.ThenegativeEscapismmasqueradesasabetteranesthesiathanexploringthehardtruthsofthisworld.Asaresult,negativeEscapismleadstosymptomsofmentalillnesssuchasdependenceonmediaandpeeping.Inbrief,afteranalyzingthebrilliantly-conceivedsatire,wecaneasilydrawtheconclusionthattheintercuttingshotsbetweenprogramofTrumanand"reallife"ofthedirectorandspectatorsfullydemonstratesEscapismhasoverallinfiltratedintohuman’slife.TrumancertifiespositiveEscapismcanplayaeffectiveroleinfulfillingdream.Director’sEscapismmakeshimrunawayfromtheabsurdityextremely.properSpectators’Escapismleadsthemtoturndowntoengageinthetrueworldnegatively.Notes:1.TheTrumanShowisa1998Americancomedy-dramafilmdirectedbyPeterWeirandwrittenbyAndrewNiccol.ThefilmchroniclesthelifeandevadingofTrumanBurbank,whodiscoversheisconstrainedinareality-feignedsoapopera,televisingtobillionsbylivetransmission.2.Asevidence,herearetwoquotationsofChristof’slines.Theonesay,“IhavegivenTrumanachancetoliveanormallife.Theworld.theplaceyouliveinisthesickplace.Seahavenisthewaytheworldshouldbe.”Theothersays,“There'snomoretruthouttherethanthereisintheworldIcreatedforyou.Samelies.Thesamedeceit.Butinmyworld,youhavenothingtofear.3.ThisdefinitioniscitedfromtheConciseOxfordEnglishDictionary.4.Post-Modernismisastyleandconceptintheart,architectureandcriticismdatingfromthelate20thcentury,whichrepresentsadeparturefrommodernismandhasatitsheartageneraldistrustofgrandtheoriesandideologiesaswellasoproblematicalrelationshipwithanynotionofart.(citedfromtheOxfordEnglishReferenceDictionary)5.TheLongmanAdvancedAmericanDictionarydefinesitas“reactionoractivitiesthathelpyouforgetaboutbadorboringthingsforashorttime”.TheAdvancedOxfordDictionarydefinesitas“anactivity,aformofentertainmentthathelpsyouavoidorforgetunpleasantthings.”Bibliography:(1).Englishmovie“theTrumanShow”at(2).CommentsonmediaandpsychologicalinterpretationofthethemeoftheTrumanshowat:/(3).TheMeaningofTheTrumanShow,at:(4).ThescriptofTheTrumanShowat/(5).Busch,AnitaM,"NewTrumanvillain:Harris",Variety.(6).Turna,Kenneth"TheTrumanShow",LosAngelesTimes《楚門的世界》,作為一個(gè)典型的里程碑電影產(chǎn)業(yè),把其他傳統(tǒng)文體的陰影被intercutting程序之間的實(shí)時(shí)紀(jì)錄片杜魯門和“現(xiàn)實(shí)生活”的觀眾和導(dǎo)演。首先,這部電影主要集中在杜魯門伯班克的的視角。主人公,他的一生是一個(gè)非常受歡迎24-hour-a-day里播放的電視連續(xù)劇,逐漸意識(shí)到他的存在被隱蔽的攝像機(jī)和盡力擺脫權(quán)威統(tǒng)治。其次,電影或者intercuts球道視角的觀眾,他們保持警惕是基于杜魯門的每一個(gè)特殊的姿勢(shì)和行為脫離察覺到日常生活的一些讓人不愉快的方面。第三,電影導(dǎo)演的轉(zhuǎn)移現(xiàn)場的視角。結(jié)果表明,他的動(dòng)機(jī)創(chuàng)造歡快的社區(qū)的Seahaven(一種物質(zhì)化“天堂”)是逃避的虛偽和outside2紛繁的世界。總之,無論電影的視角出發(fā),它給的化身,逃避現(xiàn)實(shí)的方式。至于Escapism3,它是一種精神分流或傾向于尋求分散注意力和緩解平庸的現(xiàn)實(shí)Post-Modernism4的時(shí)代。雖然不同的參考書提供不同illustrations5,幾個(gè)特性背書。首先,作品被視為一個(gè)內(nèi)在表達(dá)的后現(xiàn)代主義,城市化、工業(yè)化和技術(shù)的存在已經(jīng)清除了生物學(xué)上的百姓從他們的正常的性質(zhì)和嚴(yán)格的日常生活。另一方面,它是單方面的斷言的作品帶有極端和消極的內(nèi)涵,說明人是逃避現(xiàn)實(shí)者是墮落或悲傷。事實(shí)上,逃避現(xiàn)實(shí)也顯示樂觀積極的意義和一個(gè)人是逃避現(xiàn)實(shí)者不愿意/不能與國際接軌意味深長。與這部電影,三種逃避現(xiàn)實(shí),即杜魯門的積極的逃避現(xiàn)實(shí)、導(dǎo)演和觀眾的極端的消極逃避現(xiàn)實(shí)的逃避現(xiàn)實(shí)已經(jīng)滲透到人類的生活。原因、表現(xiàn)和影響,將進(jìn)行了較詳細(xì)的分析。從杜魯門的視角,被賦予了作品的性質(zhì)做了一個(gè)積極性和獲得自由很受歡迎。首先,他的作品源于他的意識(shí)被控制和生命的陰謀。正如我們所知道的,他已經(jīng)長大了,住在