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  劍6Test3雅思閱讀Passage1原文翻譯

  The Lumiere Brothers opened their Cinematographe, at 14 Boulevard des Capucines in Paris, to 100 paying customers over 100 years ago, on December 8, 1895. Before the eyes of the stunned, thrilled audience, photographs came to life and moved across a flat screen.

  一百多年前，在1895年12月8日，呂米埃兄弟在巴黎嘉布欣大道14號向100名買票人場的觀眾放映了他們制作的電影。在目瞪口呆、驚恐顫抖的觀眾面前，一張張照片活動(dòng)起來并在平面的銀幕上穿梭而過。

  So ordinary and routine has this become to us that it takes a determined leap of the imagination to grasp the impact of those first moving images. But it is worth trying, for to understand the initial shock of those images is to understand the extraordinary power and magic of cinema, the unique, hypnotic quality that has made film the most dynamic, effective art form of the 20th century.

  看電影對于我們來說是司空見慣的事，所以要理解這些活動(dòng)的畫面最初產(chǎn)生的影響，想象力非得來次巨大的飛躍不可。然而這值得一試，因?yàn)槔斫饬诉@些影像最初帶來的震撼，就可以理解電影非同尋常的力量和魔力，理解為什么電影具有獨(dú)特而迷人的品質(zhì)。正是這種品質(zhì)，使電影成為20世紀(jì)最具有活力和感染力的藝術(shù)形式。

  One of the Lumiere Brothers’ earliest films was a 30-second piece which showed a section of a railway platform flooded with sunshine. A train appears and heads straight for the camera. And that is all that happens. Yet the Russian director Andrei Tarkovsky, one of the greatest of all film artists, described the film as a ‘work of genius’. ‘As the train approached,’ wrote Tarkovsky, ‘panic started in the theatre: people jumped and ran away. That was the moment when cinema was born. The frightened audience could not accept that they were watching a mere picture. Pictures were still, only reality moved; this must, therefore, be reality. In their confusion, they feared that a real train was about to crush them.’

  呂米埃兄弟的早期電影作品之一是一部30秒長的短片，表現(xiàn)了一段沐浴在陽光下的火車月臺的場景。一輛火車出現(xiàn)了，并且直沖鏡頭開來。這就是電影的全部。然而，杰出的電影藝術(shù)家俄羅斯導(dǎo)演安德列·塔科夫斯基卻稱其為“天才之作”。他寫道：“隨著火車不斷駛近，影院里呈現(xiàn)出一片慌恐的景象：人們跳離座位，四散而逃。就在這一刻，電影宣告誕生。恐懼的觀眾無法相信他們看到的僅僅是一幅圖畫。圖畫是靜止的，只有現(xiàn)實(shí)中的事物才會運(yùn)動(dòng);因此，這一定是現(xiàn)實(shí)。在疑惑迷茫之中，觀眾擔(dān)心一列真正的火車將會把他們軋得粉身碎骨。”

  Early cinema audiences often experienced the same confusion. In time, the idea of film became familiar, the magic was accepted — but it never stopped being magic. Film has never lost its unique power to embrace its audiences and transport them to a different world. For Tarkovsky, the key to that magic was the way in which cinema created a dynamic image of the real flow of events. A still picture could only imply the existence of time, while time in a novel passed at the whim of the reader. But in cinema, the real, objective flow of time was captured.

  早期的電影觀眾們經(jīng)常會有同樣的迷茫。隨著時(shí)間的推移，電影這一概念為人們所熟知，電影的魔力也廣為人們接受，但電影的魔力并沒有因此而消失。電影不斷地以其獨(dú)特的力量去感染觀眾并將他們帶人一個(gè)不同尋常的世界。對塔科夫斯基而言，魔力的關(guān)鍵在于電影所創(chuàng)造的表現(xiàn)方式是以動(dòng)態(tài)的影像來反映真實(shí)事件的進(jìn)展。靜止的圖畫僅僅暗示了時(shí)間的存在，而小說中的時(shí)間則在讀者的幻想中不斷延伸。然而，電影卻捕捉了真實(shí)而客觀的時(shí)間流動(dòng)。

  One effect of this realism was to educate the world about itself. For cinema makes the world smaller. Long before people travelled to America or anywhere else, they knew what other places looked like; they knew how other people worked and lived. Overwhelmingly, the lives recorded — at least in film fiction — have been American. From the earliest days of the industry, Hollywood has dominated the world film market. American imagery — the cars, the cities, the cowboys — became the primary imagery of film. Film carried American life and values around the globe.

  這種現(xiàn)實(shí)性的作用之一是使世界去了解自身。因?yàn)殡娪皩⑹澜缈s小。早在人們到美國或其他地方旅行之前，他們就已經(jīng)欣賞過目的地的風(fēng)光，也領(lǐng)略過當(dāng)?shù)厝说墓ぷ髋c生活方式。至少在虛構(gòu)的電影世界中，記錄的絕大多數(shù)是美國人的生活。從電影業(yè)發(fā)展初期至今，好萊塢一直占據(jù)著世界電影市場的統(tǒng)治地位。汽車、城市和牛仔這些美國形象已經(jīng)成為電影中的主要形象。電影將美國人的生活方式和價(jià)值觀念傳播到了全世界。

  And, thanks to film, future generations will know the 20th century more intimately than any other period. We can only imagine what life was like in the 14th century or in classical Greece. But the life of the modern world has been recorded on film in massive, encyclopedic detail. We shall be known better than any preceding generations.

  同時(shí)，正是由于電影的幫助，相對于其他時(shí)代，我們的后代將對20世紀(jì)了解得更為清楚。對于14世紀(jì)或者古希臘的生活狀況，我們只能想象。但現(xiàn)代世界的生活方式已經(jīng)被電影事無巨細(xì)地大量記錄下來。后人對我們這一代的了解將會比對任何前人的了解更加透徹。

  The ‘star’ was another natural consequence of cinema. The cinema star was effectively born in 1910. Film personalities have such an immediate presence that, inevitably, they become super-real. Because we watch them so closely and because everybody in the world seems to know who they are, they appear more real to us than we do ourselves. The star as magnified human self is one of cinema’s most strange and enduring legacies.

  “影星”是電影帶來的另一個(gè)產(chǎn)物。實(shí)際上，影星這一概念出現(xiàn)于1910年。電影人物觸手可及，這使他們必然顯得無比真實(shí)。對于我們而言，影星們似乎比我們自身更為真實(shí)，因此我們可以如此近距離地觀察他們，而縣好像世界上的每個(gè)人都認(rèn)識他們。作為人類自身的放大，影星是電影留下的最不可思議而又最持久的影響。

  Cinema has also given a new lease of life to the idea of the story. When the Lumiere Brothers and other pioneers began showing off this new invention, it was by no means obvious how it would be used. All that mattered at first was the wonder of movement. Indeed, some said that, once this novelty had worn off, cinema would fade away. It was no more than a passing gimmick, a fairground attraction.

  電影也賦予小說故事新的生命。當(dāng)呂米埃兄弟和其他先驅(qū)者初次展示電影這項(xiàng)新發(fā)明時(shí)，他們根本不淸楚該怎樣應(yīng)用它。最初重要的只是影像能活動(dòng)。的確，有些人就斷言，一旦新奇感消失，電影就會逐漸淡出人們的視線。它只不過是一種暫時(shí)流行的小玩意兒，或是露天市場上的“雜耍”而已。

  Cinema might, for example, have become primarily a documentary form. Or it might have developed like television — as a strange, noisy transfer of music, information and narrative. But what happened was that it became, overwhelmingly, a medium for telling stories. Originally these were conceived as short stories — early producers doubted the ability of audiences to concentrate for more than the length of a reel. Then, in 1912, an Italian 2-hour film was hugely successful, and Hollywood settled upon the novel-length narrative that remains the dominant cinematic convention of today.

  例如，電影原本可能變成一種以紀(jì)錄片為主的形式，或者可能像電視那樣發(fā)展，成為傳輸音樂、信息和故事的怪異而喧鬧的工具。然而，事實(shí)是，電影已經(jīng)成為一種敘事的主要媒介。最初講述的都是短小的故事，因?yàn)樵缙谥谱髡邆儜岩捎^眾頂多只能集中精力去看完一卷膠片。后來，一部長達(dá)兩個(gè)小時(shí)的意大利電影在1912年獲得了巨大的成功，從此好萊塢電影就開始采用這種新的敘事長度。至今，這一形式依然在電影界保持著慣例式的統(tǒng)治地位。

  And it has all happened so quickly. Almost unbelievably, it is a mere 100 years since that train arrived and the audience screamed and fled, convinced by the dangerous reality of what they saw, and, perhaps, suddenly aware that the world could never be the same again — that, maybe, it could be better, brighter, more astonishing, more real than reality.

  而這一切都發(fā)生得如此迅速。令人幾乎難以置信的是，距離那輛火車到站時(shí)，觀眾們認(rèn)為所看到的是危險(xiǎn)的現(xiàn)實(shí)而尖叫不止、四散奔逃的景象，只不過一百年的時(shí)間。或許，人們意識到世界已經(jīng)發(fā)生了徹底的改變，而且可能會變得比現(xiàn)實(shí)更加美好、光明、驚人和真實(shí)。

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