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《赝品(1973)》如何拍摄视频简介 – 译学馆
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《赝品(1973)》如何拍摄视频简介

F for Fake (1973) - How to Structure a Video Essay

你好 我是Tony 欢迎来到逐桢画面
Hi my name is Tony and this is Every Frame a Painting.
因为这个频道进展的顺利 似乎意味着
So this channel’s been going well, which means it’s about time
到了该忏悔的时候?
-Time for a confession?
是的 忏悔的时候
Yeah, time for a confession.
我已经从这部电影里偷取了比其他电影更多的想法
I have stolen more ideas from this film than from any other
-赝品-赝品
-F for Fake -F for Fake
-女士们 先生们通过介绍的方式
-Ladies and gentlemen, by way of introduction
-这是一部关于欺骗的电影
-this is a film about trickery
-以及诡计
-and fraud
-关于谎言
-about lies.
抱歉 这不是正确的打开方式 我们重来一遍好吗
Wait sorry I’m doing this wrong. Can we start over?
这是Orson Welles的一部散文电影 它叫赝品
This is an essay film by Orson Welles. It’s called F for Fake.
它也是我的个人的圣经之一
And it’s one of my personal bibles.
我所知道的一切关于编辑事都是习自这部电影
Everything I know about editing, I learned from this film.
但是今天 我想讨论一个基础的事情
But today, I want to talk about one basic thing:
结构
我们发现了一个非常简单的规则 你们可能都已经听说过
-We found out this really simple rule that maybe you have all heard before
-但是我们花费了大量时间去了解它
-but it took us a long time to learn it.
当你在组织一部视频散文时
When you’re structuring a video essay
有一件事你肯定想要避免
there’s one thing you really want to avoid.
-我认为就是这样-然后呢?
-I think that’s about it. -And then?
-不 就是它 -然后呢
-No, that’s it. -And then?
-没有然后了因为我已经点完单了-然后呢
-Then nothing else cuz I’m done ordering -And then?
如果你讲述一个故事
-If you tell a story that’s
不停地然后然后
-那么你就陷入了大麻烦
-you’re in big trouble.
这是我在我自己的工作中的第一个错误
This is the #1 mistake I make in my own work.
像这 看看它有多重复
Like here. Watch how repetitive this is.
选择拿着这些钱
-Choosing to take the money.
选择不抵抗
-Choosing not to fight back.
选择隐藏他们的情绪
-Choosing to hide their emotions.
选择不相信某人
-Choosing not to trust someone.
选择等到不安结束
-Choosing to wait out the discomfort.
选择去达到
-Choosing to get–
这是一个可以任意排列的列表 这是它无聊的原因
This is a list you could put in any order. That’s why it’s so boring.
你所写下的每一点该发生的
-What should happen between every beat that you’ve written down
要么是“所以”要么是“但是”
-is either the word THEREFORE or BUT.
我想说的是你有这么一个想法 它碰巧是
-So what i’m saying is you come up with an idea that’s like, this happens
– 那些是什么 – 我的阴毛 我从Scott Tenorman那得到的
-What are those? -My pubes. I got em from Scott Tenorman.
– 因此这就发生了
-and THEREFORE this happens.
– Cartman 你不需要买阴毛 你自己身上也有
-Cartman, you don’t buy pubes. You grow them yourself.
– 你是说阴毛没有任何价值- 是的
-You’re saying pubes are worth nothing? -Yeah.
– 但是发生了这样一件事
-BUT this happens.
– 我将把阴毛给你- 酷毙了
-And I’ll give you the pubes. -Sweet.
– 因此它发生了
-THEREFORE this happens.
– 噢 该死的
-Aw goddamn it!
贯穿这部电影 Orson Welles做了完全相同的事
So throughout this movie, Orson Welles does the exact same thing.
除了他没有连接场景 而是连接了想法
Except he doesn’t connect scenes, he connects thoughts.
– 你是个画家 你为什么会希望人们制造赝品
-You’re a painter. Why do you want people to do fakes?
– 因为赝品和真实的一样好并且也存在市场需求
-Because fakes are as good as the real ones and there’s a market and a demand
– 如果没有艺术市场 赝品也会不复存在
-If you didn’t have an art market, then fakers could not exist.
尽管这部电影是个散文电影
Even though this movie is an essay
每一刻都有着南方公园的连接逻辑
each moment has the connective logic of a South Park episode.
在这部电影里的第二个规则是多个故事平行叙述
The second rule in this movie is to have more than one story, moving in parallel
– 我会再次引用Hitchcock 他说制造电影的名字是回归牧野
-I’ll quote Hitchcock again. He said the name of making movies is
– 他完全正确
-He’s absolutely right.
-你想进行两件事
-You want to have two things going.
-你抵达其中一件的高潮 再转向另一件
-You reach the peak of one, you go to the other.
-我希望你知道自己在做什么
-I hope you know what you’re doing.
-你自主选择事件 当它不再有趣就丢弃它
-You pick the other up where you want it When it loses interest, drop it.
这在散文电影中是如何实现的呢
How does this work in an essay film?
-好的 假设有两个故事 首先构建其中的一个
-Well, let’s say you have two stories. Let one of them build up.
-当它达到最高兴趣时 切换到另一个 并开始构建另一个
-When it reaches peak interest, switch to the other. Let this one build.
-当这个也达到顶峰时 回归到第一个 简单明了 对不对
-And when this gets to the top, go back to the first. Simple, right?
-然而赝品不仅仅有两件事
-Except F for Fake doesn’t just have two things.
还有关于Orson Welles ,Howard Hughes
There’s also stories about Orson Welles, Howard Hughes
一个名叫Oja的女士 甚至如何制作这部电影的故事
a woman named Oja, and even the making of this movie.
通过仔细构建每一个故事 使得Welles能够在六个故事中来回穿插
And by building each story carefully, Welles can jump between all six of these
而不会丢失观众
without ever losing the audience.
因为当我制作视频散文时 这就是我大脑中所想的
So when I’m making a video essay, this is what’s going through my head.
-然后呢-没有然后了
-And then? -No “and then!”
我都是通过观看这部电影所学到的
And I got all of that from watching this film.
让我收获最大的是:不是关于你所得到的
Which more than anything has taught me: it’s not about what you get.
而是你如何切入并从另一端出来
It’s how you cut it and what comes out the other end.
记住 视频散文不是散文 而是电影
Remember, video essays aren’t essays. They’re films.
因此你想要像一个电影制作者去构建和调整他们
So you want to structure and pace them like a filmmaker would.
因此和但是 与此同时 回归牧野
Therefore and But. Meanwhile, back at the ranch.
如果你不相信我 你至少也该相信Orson Welles
And if you don’t believe me, you should at least trust Orson Welles
他在40多年前就试图指出这一点
who somehow figured this out over 40 years ago.
-为什么不呢 我是个江湖骗子
-Why not? I’m a charlatan.
无论如何 我们来整理这个散文
But whatever. Let’s wrap up this essay.
-现在是介绍时间
-Now it’s time for an introduction.
你好 我叫Tony 这总结了逐桢画面的第一年
Hi, my name is Tony and this concludes Year One of Every Frame a Painting.
感谢你们的观看
I’d like to thank you for watching.
-祝你们有一个愉快的
-and wish you all a very pleasant
晚上
-good evening.
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Subtitles by the Amara.org community

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视频概述

从赝品这部电影我学到了哪些关于多场景描述及切换的方法

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视频来源

https://www.youtube.com/watch?v=1GXv2C7vwX0

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