影视美联英语 解构金球奖影片社会意义.docVIP

小编给你一个美联英语官方免费试听课申请链接： /test/waijiao.aspx?tid=16-73675-0 美联英语提供：影视英语 解构金球奖影片社会意义 More engrossing than anything in “Foxcatcher” were the recent real-life Twitter tantrums of Mark Schultz, the wrestler at the center of du Pont抯 obsessions, played by Channing Tatum in the movie. He抯 apparently outraged about scenes that suggest homoerotic currents between him and du Pont. I mention that partly to pivot to the following question, Ross, since it applies not just to 揊oxcatcher?but also to 揂merican Sniper?and perhaps to 揝elma?most of all: What obligation, if any, do movies have to hew to the historical record and the known truth? I抦 curious if you think there are any firm dos and don’ts, any inventions or suppositions that should be out of bounds. 《狐狸猎手》最引人入胜的是最近发生在现实中的情节，杜邦十分关注的摔跤手马克·舒尔茨（Mark Schultz，在剧中由查宁·塔图姆[Channing Tatum]扮演）在Twitter上发飙了。让他愤怒的显然是剧中暗示他跟杜邦之间，有同性暧昧情绪的场景。罗斯，我提这个，部分目的是想把话题转到下一个问题，这个问题不仅适用于《狐狸猎手》，也适用于《美国狙击手》，可能最适用于《塞尔玛》：电影有怎样的义务去遵从历史记载和已知的事实，甚至有没有这样的义务？我好奇的是，你会不会觉得有某些确定的“什么可以做什么不可以做”的规则，有没有哪些编造或者臆测是不可接受的？ Douthat: Well, it’s complicated. The obligation to historical fidelity clearly can’t be absolute, or no filmmaker could pass it, and there has to be ample room for movies to play with real-life events to get at particular points and argument and ideas. To pick an apolitical recent example, I loved 揟he Social Network,?a movie that I thought captured the culture of meritocracy (or at least its Harvardian iteration) brilliantly, even though its 揗ark Zuckerberg?bore little relationship to the real-life man. In that case and many others, I tend to agree with Jamelle Bouie抯 argument ?made last week in the context of the 揝elma” debate — that viewers should be generally “less concerned with fact-checking and more interested in understanding” why, exactly, directors and screenwriters wrestling with history make the compressing/eliding/inventing choices that they make. 多赛特：实际上挺复杂的。忠于历史的义务显然不能是绝对的，否则没有哪个电影人能及格，电影中应该有充裕的空间对现实事件进行演绎，从而表达某些特定的观点、论调和思想。我