[雙語翻譯]攝影外文翻譯--移動景觀電影，運載工具和移動攝影（節(jié)選）

1、2700 2700 英文單詞， 英文單詞，14500 14500 英文字符，中文 英文字符，中文 5200 5200 字出處： 出處：Edmond Edmond J. J. Moving Moving landscapes: landscapes: Film, Film, vehicles vehicles and and the the travelling travelling shot[J]. shot[J]. Studies S

2、tudies in in Australasian Australasian Cinema, Cinema, 2011, 2011, 5(2):131-143. 5(2):131-143.Moving landscapes: Film, vehicles and the travelling shotJOHN EDMONDABSTRACTThis article maps out the cinematic usage of ‘trav

3、elling shots’, or shots created through affixing a camera to a vehicle. This article initially examines the earliest examples of such shots, the nineteenth century train-mounted ‘Phantom Rides’ that synthesized two icon

4、ic technologies of modernity, rail and film, to create a form of camera movement that demonstrated the new technologies’ mastery of space. This article asks what happened to this trope of movement as prowess. To this end

5、, using the conceptual frameworks provided by film historian Tom Gunning’s concept of a ‘cinema of attractions’ and fellow film historian Charles Musser’s concept of a ‘cinema of contemplation’, narrative films are ana

6、lysed in relation to how the trav- elling shot was co-opted for thematic means. Salient travelling shots, sourced from the nineteenth century Phantom Rides to 2009s Harry Potter and the Half-Blood Prince are used to tr

7、ace the lineage of the travelling shot up into our present time. By examining how film-makers have adapted travelling shots for integration within narrative films, and accommodated such new cinematic and transport techno

8、logies as CGI and helicopters, a foundation for understanding the rhetorical impulses of travelling shots is developed.KEYWORDS：landscape; space; vehicle; movement; Phantom Ride; travelling shot INTRODUCTIONIf people ne

9、ed to object to something (and film buffs always do), I’d point to what appears to be a systematic use of digital technology to stabilize the image, which may look better to modern eyes but eliminates the eccentricities

10、of filming with a hand-cranked camera mounted on a shaky wooden tripod.Camera movement is an assemblage of gestures. Some movements are abstractions of human movement and perception, while other movements are informed

11、 by different visual histories and experiences: ranging from hand-held documentary work, through shots influenced by paintings and video games or constructed using computer-generated imagery, to the vehicle-mounted trav

12、elling shots that are the focus of this article. This article explores how the visual experience of travelling by vehicle has been adapted for film by examining ‘travelling shots’, or shots filmed from the perspective

13、of a moving vehicle. The range of these vehicle-mounted travelling shots include, but not is limited to, those filmed from trains, planes and automobiles, irrespective of whether the vehicle itself is visible on screen.

14、 For instance, Electroma (Bangalter and de Homem-Christo 2006) has shots in which not just the vehicle, but also the protagonists diegetically frame our view of California, while the famous swooping aerial shots of New

15、 Zealand in the Lord of the Rings trilogy (Jackson 2001, 2002, 2003) show no trace of the helicopters used in their subject matter revelled in displays of exotic locales, stunts and various new technologies of the modern

16、 era (Gunning 1986: 66–67; Griffiths 1999: 282). This last category is particularly pertinent for, as both Gunning and Kirby note, early travelling shots provided a twofold demonstration of technological prowess: Phant

17、om Rides documented both a vehicle’s ability to move quickly through space and film’s ability to document this movement (Gunning 2006: 37, 1986: 66–67).The makers of Phantom Rides utilized a number of burgeoning propuls

18、ive technologies. The Paris Expo Cinéorama (Grimoin-Sanson 1990) used balloons, Down the Hudson (Armitage and Weed 1903) features a boat ride, and even the Eiffel Tower elevator was used to create a travelling shot

19、 in the case of Elevator Ascending Eiffel Tower (White 1900). However, the most iconic and telling combination was that of rail and film. As historians Alison Griffiths and Wolfgang Schivelbusch separately note, rail an

20、d cinema are the two most iconic technologies of Modernity’s collapse of space: rail helped transport people to distant lands and film virtually brought distant lands to the cinema audiences (Griffiths 1999: 284–85; Sch

21、ivelbusch 1980: 33). The result is that travelling shots became a metaphor for Modernity’s control over space, and simultaneously acted as documentary proof of modern technology’s control over space.It is this nub of vis

22、ual rhetoric that has been the mainstay of travelling shots from their existence as Phantom Rides, and through their integration into narrative films. This rhetoric has not only continued to exist as a historical undercu

23、rrent, but has been reinforced by a variety of film-making practices that utilize the travelling shot’s formal and historical qualities. For instance, as I will discuss in greater detail later, the legacy of travelling

24、shots as an exciting cinematic attraction, and our own travelling experiences mean that we are perceptually primed to pay greater attention to a film’s setting than normal. Opening shots of movies often take advantage o

25、f this by using the excitement and interest provoked by travelling shots to extend otherwise static establishing shots before picking out a film’s protagonists. That this action aligns the travelling shot with a film’s

26、 narrative system is in most cases almost certainly accidental, but no less key in associating the travelling shot with control.Once the protagonists have been picked out, we are introduced to the way the basic rhetoric

27、 of the travelling shot is reinforced, through the linking of the creation of travelling shots to diegetic sources. There is a certain happy coincidence between the rise of the car, and cause-and effect-based narrative

28、film-making. Travelling shots are now heavily equated with the movement not of people, but of protagonists. Key, forceful characters are now shown using the vehicles that produce travelling shots. In almost any action-

29、based driving sequence, such as Bullitt (Yates 1968), Ronin (Frankenheimer 1998) or The Fast and the Furious (Cohen 2001), you will see the characters’ generally successful movement through space re-associating the trav

30、elling shot with control over space. Accordingly, there is a strengthening of travelling shot’s baseline connotation of spatial mastery and control.It is not just the rise of narrative that has reinforced this fundament