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影史最有震撼力的十大剪辑

Top 10 Most Effective Editing Moments of All Time

有时电影的魔力不仅在于 震撼的镜头
Sometimes the magic in cinema comes not just from incredible shots,
还因两个镜头叠加产生出的质变的飞跃
but from bringing two together to yieldsomething more than the sum of their parts.
这里列举了影史最具纪念价值的前十名剪辑片段
These are the top ten most memorable editing moments of all time.
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[音乐]影史最具价值的剪辑片段
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先来看第十名 《上帝之城》的片头
Kicking us off at number ten, the beginning of City Of God.
电影的最开始 充满活力 它猛然把我们带入
Bursting with energy, the very first shotis Cidade de Deus thrusts us into
里约热内卢的旋律 音乐 暴力和阴暗面中
the rhythm, the music, and the violence, the underbelly of Rio.
跳跃的剪辑 重复的动作 狂乱的蒙太奇手法
Jump cuts, repeated action, frenetic montage, and
最后的子弹时间 画面匹配这听起来就像灾难的配方
a final bullet time, graphic match wipe sound like a recipe for disaster.
但是在该片中 这样的混合处理并没有成为灾难反而让荧幕充满活力
But in City of God, they don’t just work,they electrify the screen.
“嗨”
” Hey! “
下面是第九名
Next up at number nine,
《邦妮和克莱德》的结尾
the end of Bonnie and Clyde.
阿瑟·潘最终的结局给我们展现了
Arthur Penn’s fateful finale showed us a death
一个好莱坞从未有过的死亡方式
unlike any Hollywood had ever seen.
节奏一直加快 变的速度极快这时机智的马尔科姆 和受惊的鸟群让我们
The pace accelerates to breakneck speed as a shifty Malcolm and startled flock of birds bring us
在看他们死去的慢动作镜头之前最后看一眼虚构的爱人
towards one last glance between mythic lovers,before their slow-mo demise.
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“还是够不到”
” Can’t reach now.”
“我正在努力够”
” I’m trying.”
“加油 够到了 来”
” Come on, I got you, up.”
“上来吧 托德希尔小姐”
” Come along, Mrs. Todd Hill.”
第8名 希区柯克的《西北偏北》
At number eight,Hitchcock’s North by Northwest.
多数人想到希区柯克时
When most think of Hitchcock,
想到的是一个严厉英国导演 悬疑片大师
they think of a stiff British director, the master of suspense.
但是他却是处理双关的老手
But even Hitchcock wasn’t abovea little double entendre.
他用此技巧与审查制度打擦边球
And that’s exactly what he usedto skirt around censorship laws
用一个编撰的无比色情的玩笑
in what amounts to onegiant editorial dick joke,
但是他不仅仅只是用视觉双关
but Hitchcock’s got moreto him than visual puns.
除了全片保持世界级别的
In addition to North by Northwest,
剪辑水准的《西北偏北》
which has world class editing all the way through,
我们再来提名一个
we’ll be coming back to infer one
一直以来最令人震惊的片段
of the most shocking sequences of all time.
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“迈克尔•柯里昂你弃绝撒旦吗?”
Michael Francis Rizzi,do you renounce Satan?
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[枪声]
[Gunfire]
“我弃绝”
I do renounce him.
下一个 第7名 《教父》里面洗礼的片段
Next up at number seven,The Godfather baptism sequence,
这是荧幕上最有代表性的镜头切换的片段
one of the most iconic intercut sequences in all of cinema.
科波拉的《教父》高潮迎来了
Coppola’s Godfather climax sees
迈克尔·科莱奥内为巩固自己地盘的势力
Michael Corleone securing his place of power by
精心策划了一系列谋杀黑手党事件
orchestrating a series of gangland killings,
这和他受洗礼时发誓弃绝撒旦的镜头交替出现
all intercut with his baptismal vow to renounce the powers of evil.
两件事并置产生的效果久挥不去
The effect of the juxtaposition is haunting.
通过两组镜头的联系
Through the power of association,
我们看到了 迈克尔被洗礼成为新的教父
we see Michael christened as the new Godfather
用的却是敌人的鲜血啊
in the blood of his enemies
他们的尸体静静的躺在那里 以圣父 圣子 圣灵的名义祈祷 啊安息吧 阿门
whose corpses lie motionless in nomine patri et fili Spiritus Sancti, amen.
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第6名 《战舰波将金号》中的历史性的敖德萨台阶的片段
At number six, the historic Odessasteps sequence of Battleship Potemkin.
在电影剪辑方面 几乎没有比艾森斯坦的布尔什维克的宣传片段更加值得称道的成就
There’s hardly a more celebrated achievement in editing than Eisenstein’s Bolshevik propaganda piece.
例示他的蒙太奇式的冲突理论 两个离散的镜头的理念
Exemplifying his theory of montage-esqueconflict, the concept of two discrete shots
产生出的思想比他们各自的含义更加博大更加不同
giving rise to an idea bigger and different than their individual meanings.
不仅是波将金很需要看电影学院世界101
Not only is Potemkin pretty much requiredwatching for film school 101 around the world,
它还无数次地被批判 被尊敬 被模仿
but it’s been ripped off, paid homage to,and parodied more times than we can count.
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第五名
Number five,
《惊魂记》
Psycho.
没什么比淋浴镜头更适合营造震惊效果的了
Nothing can prepare you forthe shock of the shower scene,
刀指向你的恐惧 那种暴力和裸体的画面
the terror of the knife coming at you, the violence, the nudity.
当然 我们这里没有这种画面
Of course, none of it’s actually there.
我们选的 其实都没有真正的威胁
There is no actual threat,
画面里没有一片刀子
not a single stab on screen or
也没有一个裸体的镜头
even a single frame of nudity.
而是全部用剪辑的处理手法 希区柯克以此来引导观众 脑补这个效果
It’s all part of the editing that Hitchcockuses to evoke these effects in one’s mind.
在45秒内的78个镜头中
In 78 cuts over 45 seconds,
我们只看到鲜血沿着排水口流走
we only see blood washing down the drain,
希区柯克在最后一幕中将排水口转切成玛丽莲•科瑞恩的眼睛 构成了一幅美丽的画面
which Hitchcock so beautifully connects withMarion Crane’s eye in a final evocative resolve.
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第四名 《一条安达鲁狗》
Next up at number four, Un Chien Andalou.
当路易斯•布鲁内尔去见萨尔瓦多•达利时
When Luis Brunelle approached Salvador Dali
讲了一个故事 故事中云彩像一把刀子一样 划过月亮
with the story of a cloud slitting the moon like a knife,
达利跟他讲了自己的梦 在梦里 手上爬着蚂蚁
Dali told him about his dream of a hand crawling with ants.
电影名为《一条安达鲁狗》
Thus became Un Chien Andalou,
或者《一条安达卢西亚的狗》 意味着
or The Andalusian Dog, a title that means
影片中的任何事物
just about as much as anything else in the film,
同时 也什么都没代表
which is to say nothing at all.
但是仅因为影片缺乏合理性 就说它没有影响力 是不可取的
But just because it lacks rationalitydoesn’t mean it lacks impact.
至今 那个切眼睛的画面依然令人震惊
The eye slitting sequence is shocking to this day.
图像的匹配 梦的逻辑
The graphic match, the dream logic,
对注定的事情的与日俱增的恐惧
and the growing dread of the inevitable slice
这些都通过奇怪的并置处理而展现了
are created entirely through the strange juxtaposition,
这正展现了剪辑具有的强大力量
which just goes to show the massive power of editing.
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第三名 《现代启示录》的开场
Counting down to number three,the opening of Apocalypse Now.
这是弗朗西斯·科波拉对战争恐惧的深入思考的巨作
Francis Ford Coppola’s meditativemasterpiece on the horror of war and
表现了人类精神的扭曲
the human soul begins in striking fashion.
一组扣人心弦的镜头将人物慢动作回忆的直升机
A series of mesmerizing superimpositions connects the slow motion
与吊扇和迷失的威廉德上校联系起来
memories of helicopters to a ceiling fanand a disoriented Captain Willard.
影视中很少再有比这个剪辑更能充分显示
There is hardly a better example of the power and
蒙太奇的力量与魅力的了
beauty of montage in cinema than this sequence.
每一个镜头都很好地
The ideas of each shot literally building one
引出下一个镜头
on top of the next,
用直升机叶片的基片强调
punctuated by the base slices of helicopter blades and
由吉姆·莫里森的坚定的诗歌精心编排
orchestrated by the stern poetry of Jim Morrison.
[噪声]
[NOISE]
接下来是第二名 《2001: 太空漫游》中人类的黎明的镜头
Next up at number two, the dawn ofman cut from 2001: A Space Odyssey.
一个简单的镜头横跨数百万年
Spanning millions of years in a single cut,
斯坦利·库布里克的视觉隐喻在很多层面上起作用
Stanley Kubrick’s visual metaphor works on so many levels,
将工具的发明和太空旅行的出现相联系
connecting the invention of tools to the advent of space travel,
将一根坠落的骨头与人类登月相联系
the flight of a bone to our lift off to the moon.
是这种非言语的传递信息使得剪辑变成如此
It is this kind of non-verbalcommunication that makes editing such
不可思议的手段 以艾森斯坦规定的通过意象的冲突传递信息
an incredible medium, communicating as Eisenstein prescribed through the clash of imagery.
几乎没有比这个来自库布里克杰作的镜头更加典型的画面匹配了
There’s hardly a more iconic match cut than this one from Kubrick’s masterpiece,
但如果一定要我们选一个
but if we had to pick one,
那可能就是第一名
it would probably be number one,
《阿拉伯的劳伦斯》
Lawrence of Arabia.
“现在点上它 这会很有趣”
” Now drag on it, it’s going to be fun. “
“大家都认为 你有一种奇特的幽默感”
” It is recognized that you have a funny sense of fun. “
大卫·里恩的永恒的沙漠史诗捕捉了想象力
David Lean’s timeless desert epic captured imaginations and
用一张70毫米宽的屏幕三个半小时多的精彩电影 启迪了数代人
inspired generations over three and a half stunning hours in massive 70 millimeter wide screen.
但也许没有一个简单的镜头的能超越
But there’s perhaps no single cut more cinematic than
彼得·奥图尔吹灭火柴 把我们带入一个壮观的沙漠日出
when Peter O’Toole blows out a match andtransports us to a magnificent desert sunrise.
也许这是他的得意的笑
Perhaps it is his smirk,
或者是空气中的深层谐波
or the deep harmonics of the puff of air,
但是这个镜头表达的是这个主题的重要性 美感和丰富内涵
but something about this cut carries weight, beauty, and the richness of theme.
这就是为什么我们认为它是影史最具有纪念意义的片段
Which is why we think it’s most memorable moment in editing of all time.
你怎么看呢?
So what do you think?
有哪一个片段是你认为不具有纪念价值的吗?
Were any of these momentsless than memorable?
你有没有特别想起其它经典剪辑片段 却是我们漏掉的
Did you find yourself especially missing any of the other classic editing moments we left out?
让我们在下面的评论里看到
Let us know in the comments below
订阅《电影小站》获取更多独立电影榜单
and subscribe to Cinefix for more indie wire movie lists.
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视频来源

https://www.youtube.com/watch?v=bQtkbQkURCI

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