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Listen to part of a lecture in a film history class.
聽(tīng)一段電影史課堂的講座。
Okay, we 've been discussing films in the 1920s and 30s, and how back then film categories,
我們一直在討論20世紀(jì)20年代和30年代的電影。
as we know them today, had not yet been established.
和我們今天熟知的電影分類那個(gè)時(shí)候沒(méi)有形成
We said that by today's standards, many of the films of the 20s and 30s would be considered hybrids,
我們說(shuō)過(guò)，以現(xiàn)在的標(biāo)準(zhǔn)，二、三十年代的很多電影算是“混血兒”，
that is, a mixture of styles that would not exactly fit into any of today's categories,
也就是說(shuō)，各種風(fēng)格的混合體并不符合當(dāng)今電影的類別，也不符合時(shí)下的環(huán)境。
And in that context.Today we are going to talk about a film maker who began an very unique films in the late 1920s.
今天我們探討一個(gè)在上個(gè)世紀(jì)20年代開(kāi)創(chuàng)獨(dú)具一格的電影的電影制作人。
He was French, and his name was Jean Painlevé. Jean Painlevé was born in 1902.
他是法國(guó)人，他叫JeanPainlevé，生于1902年。
He made his first film in 1928.
他在1928年拍了第一部電影。
Now in a way, Painlev's films conform to norms of the 20s and 30s, that is,
在一定程度上，Painlevé的電影符合了二、三十年代的標(biāo)準(zhǔn)，也就是說(shuō)，
they do not fit very neatly into the categories we use to classify films today.
它們并不太符合我們現(xiàn)在用來(lái)給電影分類的標(biāo)準(zhǔn)。
That said, even by the standards of the 20s and 30s, Painlev's films were unique,
即便以上個(gè)世紀(jì)二、三十年代的標(biāo)準(zhǔn)來(lái)衡量，。
a hybrid of styles.
Painlevé的電影還是獨(dú)具特色的各種風(fēng)格的混合體
He had a special way of fusing, or some people might say confusing, science and fiction.
對(duì)現(xiàn)實(shí)和虛幻他有自己一套獨(dú)特的融合方法，或許有人會(huì)說(shuō)是“迷魂”法。
His films begin with facts, but then they become more and more fictional.
他的電影一般以真實(shí)情節(jié)作為鋪墊，但之后它們變得越來(lái)越虛幻。
They gradually add more and more fictional elements.
他作品里的虛幻元素逐漸增多。
In fact, Painlev was known for saying that science is fiction.
事實(shí)上，Painlevé 因?yàn)檎f(shuō)過(guò)“科就是幻”而聞名。
Painlev was a pioneer in underwater film making, and a lot of his short films focused on the aquatic animal world.
他是水下拍攝的先驅(qū)，此外他拍了很多關(guān)于水生動(dòng)物世界題材的短片。
He liked to show small underwater creatures, displaying what seemed like familiar human characteristics-what we think of as unique to humans.
他喜歡向世人展示小型 的水下生物，展現(xiàn)與人類共享的特性——我們以為人類獨(dú)有的。
He might take a clip of a mollusk going up and down in the water and set it to music.
他或許會(huì)拍一段軟體動(dòng)物在水里上下游蕩并配以背景音樂(lè)。
You know, to make it look like the mollusk were dancing to the music like a human being-that sort of thing.
讓其看起來(lái)像人類一樣聞 歌起舞——諸如之類的事。
But then he suddenly changed the image or narration to remind us how different the animals are,how unlike humans.
之后，他會(huì)突然切換鏡頭或出現(xiàn)旁白來(lái)提示觀眾動(dòng)物的不同之處，如何與人不同。
He confused his audience in the way he portrayed the animals he filmed, mixing up on notions of the categories of humans and animals.
他在電影里描述動(dòng)物的方式常迷惑大眾，混淆人類和動(dòng)物的概念類別。
The films make us a little uncomfortable at times because we are uncertain about what we are seeing.
這些電影常常讓我們感到有些別扭因?yàn)槲覀儾淮_定自己正在觀看的是什么。
It gives him films an uncanny feature: the familiar made unfamiliar, the normal made suspicious.
這給他的 電影帶來(lái)神秘的色彩：讓熟悉變得陌生，讓正常變得可疑。
He liked twists, he liked the unusual.
他喜歡曲折，喜歡離奇。
In fact, one of his favorite sea animals was the seahorse because with seahorses, it's the male that carries the eggs,
實(shí)際上，他最喜歡的海洋動(dòng)物之一是海馬，因?yàn)樾坌院ｑR孵卵，
and he thought that was great.
他認(rèn)為這是很不錯(cuò)的。
His first and most celebrated underwater film is about the seahorse.
他的第一部也 是最著名的一部水下電影就跟海馬有關(guān)。
Susan, you have a question?
蘇珊，你有什么問(wèn)題嗎？
But underwater film making was not that unusual, was it?
但水下電影也不是那么不同尋常，是吧？
I mean, were not there other people making movies underwater?
我意思是說(shuō)，當(dāng)時(shí)就沒(méi)有其他人也在水下拍攝電影？
Well, actually, it was pretty rare at that time.
嗯，其實(shí)，這在當(dāng)時(shí)來(lái)說(shuō)確實(shí)少見(jiàn)。
I mean, we are talking about the early 1920s here.
我是說(shuō)，我們?cè)谟懻撋蟼€(gè)世紀(jì) 20 年代初期的事。
But what about Jacques Cousteau?
那雅克·庫(kù)斯托呢？
Was he like an innovator, you know, with underwater photography too?
就水下攝影來(lái)說(shuō)，他像個(gè)改革者嗎？
Ah, Jacques Cousteau.
呃，雅克·庫(kù)斯托。
Well, Painlev and Cousteau did both film underwater, and they were both innovators, so you are right in that sense.
是的，Painlevé 和庫(kù)斯托確實(shí)都拍攝水下電影，同時(shí)他倆都是改革者，在這個(gè)層面上你說(shuō)得對(duì)。
But that's pretty much where the similarities end.
但他們的共同之處也僅限于此。
First of all, Painlev was about 20 years ahead of Cousteau.
首先，Painlevé 先于庫(kù)斯托大概 20 年。
And Cousteau's adventures were high tech, with lots of fancy equipment, whereas Painlev kind of patched the equipment together as he needed it.
此外，庫(kù)斯托的電影科技含量高，有很多昂貴的設(shè)備，然而 Painlevé 更像是在需要的時(shí)候把設(shè)備拼湊起來(lái)。
Cousteau usually filmed large animals, usually in the open sea, whereas Painlevgenerally filmed smaller animals, and he liked to film in shallow water.
庫(kù)斯托通常拍攝大型的動(dòng)物，通常在公海拍，然而 Painlevé 一般拍攝小一點(diǎn)動(dòng)物，另外他喜歡在淺水拍攝。
Uh, what else, oh well, the main difference was that Cousteau simply investigated and presented the facts-he did not mix in fiction.
呃，看看還有什么，哦，主要的區(qū)別是庫(kù)斯托只是 調(diào)查和展現(xiàn)事實(shí)——他沒(méi)有將事實(shí)與虛幻的東西混合到一起。
He was a strict documentarist. He set the standard really for the nature documentary.
他是一位嚴(yán)謹(jǐn)?shù)募o(jì)錄片導(dǎo)演。
Painlev, on the other hand, as we said before, mixed in elements of fiction.
他為真正的自然紀(jì)錄片建立了標(biāo)準(zhǔn)。
And his films are much more artistic, incorporating music as an important element.
另外，他的電影更具藝術(shù)色彩，合并的（背景）音樂(lè)作為一個(gè)重要因素。
John, you have a question?
約翰，你有問(wèn)題嗎？
Well, maybe I should not be asking this, but if Painlev's films are so special,
或許我不應(yīng)該問(wèn)這個(gè)，如果 Painlevé 的電影是那么的特別，
so good, why have not we ever heard of them?
那么的優(yōu)秀，為什么我們從來(lái)沒(méi)有聽(tīng)說(shuō)過(guò)他的作品？
I mean, everyone's heard of Jacques Cousteau.
我是說(shuō)，大家都聽(tīng)說(shuō)過(guò)雅克·庫(kù)斯托。
Well, that's a fair question.
嗯，這是一個(gè)值得探究的問(wèn)題
Uh, the short answer is that Painlev's style just never caught on with the public.
呃，簡(jiǎn)單的回答是 Painlevé’s 的風(fēng)格并不為大眾所知。
I mean, it probably goes back at least in part to where we mentioned earlier, that people did not know what to make of his films-they were confused by them,
我是說(shuō)，我們得回到我們先前提到過(guò)的一個(gè)問(wèn)題：人們并不知道他的作品講什么——他們對(duì)他的電影很是困惑，
whereas Cousteau's documentaries were very straightforward, met people's expectations more than Painlev's films did.
然而庫(kù)斯托的紀(jì)錄片很直白明了，相比 Painlevé 的電影他的作品 迎合了人們的期望。
But you are true: film history is about what we know about them.
但這一點(diǎn)你說(shuō)得對(duì)：電影史是我們對(duì)電影作品的了解。
And Painlev is still highly respected in many circles.
此外，Painlevé 在很多領(lǐng)域都有很高的聲望。
