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继<<纽约时报>>，<<名利场>>等报刊的COVER报道，<<TIME>>100人，<<PEOPLE>> 50人，章子怡又成为了下一期<<Newsweek>>的封面.<<NEWSWEEK>>是和<<TIME>>齐名的著名周刊，这期搞了个<<China’s Century>>的主题报道，因此选了个中国人作封面,章子怡。
Film: Invasion of the Hot Movie Stars
热门电影明星的入侵
Chinese cinema has brought new fun, glamour, humor and sex appeal to Hollywood.
中国影片给好来坞带来了新鲜的活色生香。
Just a few months ago, 26－year－old actress Ziyi Zhang found herself on a panel at the Telluride Film Festival, seated beside Joan Allen, Ellen Barkin, Laura Linney and Annette Bening. ＂Ziyi was scared to death,＂ says Michael Barker, co－president of Sony Pictures Classics, which released Zhang‘‘s recent film, ＂The House of Flying Daggers.＂ ＂She thought, ‘‘There‘‘s no way I can compare with these great actresses.‘‘ But the minute that panel started, all those women deferred to her, in a way, as the actress of the future.＂ Even if most Americans don‘‘t yet know her name (even if they can‘‘t remember which country she‘‘s from), Zhang and her fellow Chinese filmmakers have added their own artistic accent to American movies, and have helped turn film into China‘‘s most powerful cultural export.
几个月前,26岁的女演员章子怡受邀为美国泰莱瑞德（TELLURIDE）电影节评委,其他评委有与琼.艾伦(Joan Allen), 艾伦.巴尔金(Ellen Barkin), 劳拉.琳妮(Laura Linney)和 安妮特.本宁(Annette Bening)。发行《十面埋伏》的索尼经典影业公司联合总裁迈克尔·巴克尔(Michael Barker)说：“子怡起初非常忐忑不安，她认为自己没法和这些大牌女星相提并论。实际上大家都把她当作一颗明日之星呢。” 尽管大多数美国人还不知道她的名字，甚至记不得她来自哪个国度，章子怡和她的中国电影同行已经给美国观众送来一丝独特的艺术风味，她们正帮助中国电影成为强有力的出口文化。
Without Chinese cinema, there would be no ＂Matrix＂ franchise. There would be no ＂Rush Hour＂ with Jackie Chan and no Quentin Tarantino flicks. Without Chinese filmmakers there would be no Bruce Lee movies and no Jet Li movies； there would be no ＂Face/Off,＂ no ＂Ice Storm,＂ no ＂Farewell My Concubine.＂ Most of all, there wouldn‘‘t be some of the most thrilling martial－arts films ever made, including the one that introduced Ziyi Zhang to America: Ang Lee‘‘s ＂Crouching Tiger, Hidden Dragon,＂ which won four Oscars and became the highest－grossing foreign－language film in history at $128 million. In the last nine months, Chinese films such as ＂Hero＂ and ＂Flying Daggers＂ and the recently released ＂Kung Fu Hustle＂ have all scored big at the box office. What‘‘s most shocking is that ＂Kung Fu Hustle＂ is playing on 2,500 screens in the United States, as many as exist in all of China itself. (The country has famously few movie screens, so most people watch movies on DVD, mostly pirated, at home.) Americans, who historically have avoided movies with subtitles as if they were homework, seem willing to make exceptions. ＂I think it‘‘s generational,＂ Barker says. ＂Today kids IM each other, and they read the scroll along the bottom of the screen on Fox News, so they don‘‘t have the problem with subtitles that their parents do.＂
如果没有中国电影，那就不会有《黑客帝国》（Matrix）,不会有成龙(Jackie Chan)的《尖峰时刻》（Rush Hour），不会有昆汀.塔兰蒂诺(Quentin Tarantino)的电影；不会有李小龙(Bruce Lee)和李连杰（Jet Lee）的电影；也不会有《变脸》(Face/Off)、《冰风暴》(Ice Storm)、《霸王别姬》(Farewell My Concubine)；最重要的，就不会有那些惊人的功夫电影，包括那部把小章引入美国、由李安（Ang Lee）导演的《卧虎藏龙》(Crouching Tiger,Hidden Dragon),该片曾荣获四项奥斯卡大奖，并以一亿二千八百万美元的票房成为有史以来最卖座的外语片。在过去的九个月中，《英雄》、《十面埋伏》还有新上映的《功夫》都取得了优异的票房成绩。最令人称奇的是，《功夫》在美国共有2500块屏幕放映，这个数目是中国所有电影屏幕的总和（中国的电影屏幕少得可怜，大多数中国人观赏电影的方式是在家里看盗版DVD）。过去美国人不愿看配字幕的电影，如今情况开始转变。巴克尔说：“现在的孩子用即时通信方式(IM)互相联络，观看在电视屏幕下方滚动播出的Fox台新闻，所以和父辈们不同，这些孩子看配字幕的电影没问题。”
That should bode well for Chinese cinema overall, which is moving away from the traditional Hong Kong chop－sockey movies. All those wire－work acrobatics have become a bit passe, for one thing, and larger cultural changes are in the wind. ＂Hong Kong cinema is still healthy, but the cultural vector is shifting back to Shanghai,＂ says James Schamus, co－president of Focus Features and longtime producer, writer and pal for director Ang Lee. ＂In fact, when you say ‘‘Chinese‘‘ culture, now, it‘‘s really a multicultural hybrid. You‘‘re seeing a lot of coproductions—Japanese actors in a Korean film, financed by Chinese companies, for instance.＂
这将给整个中国电影业带来益处。目前中国电影正从传统香港武打片走出，杂耍般的打斗场面渐成过去，更大的文化嬗变也在孕育。香港电影业依然宝刀不老，但文化重心开始回迁上海。 焦点电影公司（Focus Features） 联合总裁、导演李安的老朋友也是长期合作的制片人、编剧詹姆斯· 沙姆斯(James Schamus)说：“所谓 "中国"文化是一种多元文化的混合体。你可以看到大量这样的合作产品，比如，日本演员出演一部韩国电影，出资方是中国公司。”
Barker thinks that openness can only be good for Chinese film, and for American audiences. ＂It‘‘s going to make Chinese cinema more diverse,＂ he says. ＂It cross－pollinates and becomes Pan－Asian. It‘‘s kind of already happened.＂ And he believes that actresses like Ziyi Zhang—who will be seen next in Wong Kar－Wai‘‘s ＂2046,＂ followed in December by the long－awaited film adaptation of ＂Memoirs of a Geisha＂—may presage a return to an era of international stardom. ＂There was a time, decades ago, when movie stars included people like Sophia Loren or Marcello Mastroianni,＂ he says. ＂Now, instead of coming from Italy and France, the movie stars are coming from Asia. Ziyi, really, is like Catherine Deneuve. She has that same presence, and a beauty that is pure.＂ She can also annihilate hundreds of men in a sword fight without breaking a sweat. Even Deneuve couldn‘‘t do that.
巴克尔认为开放会给中国电影和美国观众都带来好处，他说：“这将促使中国电影蓬勃发展，广泛传播至全亚洲，这一切正方兴未艾。”接下来美国观众将在王家卫的《2046》和12月那部令人期待的改编自同名小说的《艺伎回忆录》中再次与小章见面，巴克尔相信章子怡有可能重现当年国际影星在好莱坞的辉煌，他说：“几十年前，索菲亚.罗兰(Sophia Loren )、马塞罗.马斯楚亚尼(Marcello Mastroianni)等外国明星在美红极一时，如今，这些明星不是来自法国、意大利，却来自亚洲。子怡有着当年凯瑟琳.德纳芙(Catherine Deneuve)般的美貌，但有一点德纳芙也做不到，她可以毫不费力地让百多男儿丧身在她剑下。“
*注：并非完全直译，难免有舛漏之处。 |
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发表于 2005-5-5 10:28