新好莱坞,电影类型及其动作电影外文翻译

毕业设计（论文）译文及原稿译文题目：新好莱坞，电影类型及其动作电影原稿题目：New Hollywood, genre and the action cinemaSPECTACULAR BODIES Gender，genre and the action 原稿出处：cinema新好莱坞，电影类型及其动作电影在类似《无名客》这样的电影中，伊斯特伍德所扮演的人物不仅仅有一点讽刺意味。

同样也是这些低成本电影使他在二十世纪六十年代名声鹊起。

在这些影片中，人们反对西部英雄被不合时宜的改写成反面英雄，赏金猎人和冷酷的杀手。

而道德至上的西方英雄形象也只保留在早期的好莱坞影片中。

与同一时期的大多数美国西部片相同，意大利美国西部片讲述了一个与从前不同的，别样风格的故事。

这些电影讲述的故事通常使用了戏仿和讽刺的手法，同时也保证了故事细节的真实性。

在某种程度上，就是依据这样的视觉效果的传统，影片《青春战士》得以出现。

赛尔乔·莱翁在史诗巨作《西部往事》就大量运用了其他意大利美国西部电影诙谐幽默的视觉元素。

同时在西部电影的场景中，不同民族的群体也被谨慎的呈现给观众。

因此，中国，墨西哥，爱尔兰等其他西部历史人物也出现在银屏上。

在其他好莱坞小说中对美国印第安人历史的重建保证了美国西部电影的历史的真实性。

就是在这样的背景下，东西方成功结合在一起的电视剧《功夫》才有了一席之地。

由大卫·卡拉丁饰演的名叫李国豪的美籍中国和尚，他独自一人流浪在美国西部。

这部电视剧的创意一部分是来自当时香港在美国西部武侠题材的影片大获成功的激发。

虽然神秘的中国文化和宗教在影视中被追捧着，但是像我曾提到的那样，投资商拒绝让中国演员饰演主要角色，甚至李小龙也遭遇到一些角色的拒绝。

通过中国文化在美国西部的重建，电影《功夫》中典型的东方形象得以被准确重塑。

根据理查德·冯对这些中国男人的形象的定义，认为他们作用是体现了“禅宗的禁欲主义”（出自Bad Object Choices,1911,148页）。

在电影《功夫》中，这些形象的作用是柔化了美国西部的英雄形象，使他们侠骨柔肠，泰安自若，同时，他们武艺高强能够对抗任何来挑战人。

与此同时，好莱坞经典的题材就是白人婴儿或青少年被印第安部落收留，最终替印第安人伸张正义的故事。

这些安排使得白人处于传统美国西部电影片的中心地位，但也同时试着承认民族差异也是一道风景线。

美国西部片中奉为神圣的主题在其他一系列场景中也得以体现，从澳大利亚内陆到城市的景观。

在这种情况下，评论家及批评家一致认为上述电影是“真正的西部电影”，只有一人认为它是“虚构”的。

这一比较将被详细阐述。

一个评论家把迈克尔·温纳《猛龙怪客》描述成一个仅仅是西部片的翻版，仅仅是把一个人按着他自己的逻辑，改造成一个正直、自由，爱好和平的公民。

New Hollywood, genre and the action cinema69. M ore than a little irony in Eastwood’s persona, as the Man with No Name, in the three ‘Dollar’ films which made him a star during the 1960s. In these films the western hero is prevented from seeming anachronistic through being recast as an anti-hero, a bounty hunter and amoral killer. There are only remnants of the morally superior western hero of earlier Hollywood films. The spaghetti western, in common with most contemporaneous American westerns, told a different kind of story to earlier examples of the genre. The stories typically told in these films employ both parody and irony, and a commitment to a certain authenticity in period detail. It is, in part, from such a visual tradition that Young Guns emerges. Leone’s epic Once Upon A Time in the West (1969) shares with other Italian westerns an excess in visual terms which is both celebratory and parodic. This is combined with a meticulous acknowledgement of the varied ethnic groups present in the western landscape. The Chinese, Mexicans, Irish and other historical protagonists of the west come to feature, alongside the reconstruction, in other Hollywood fictions, of the history of the American Indian, as guarantees of the historical authenticity of the western. It is in this context that the success of the eastern/western television series Kung Fu, in the early 1970s, can be located. This featured David Carradine as Kwai Chang Caine, a Chinese-American Shaolin priest who wanders about the old west. The idea for this series was partially triggered by the success of Hong Kong martial-arts films in the west at that time. Images of an imagined Oriental culture and religion are fetishised in the show, the producers of which, as I have discussed elsewhere, refused to cast a Chinese actor in the lead role, famously turning down Bruce Lee for the part.13 It is precisely Orientalist stereotypes, through which Chinese culture is constructed in the west, that are invoked in Kung Fu. In relation to Chinese men these function in terms of what Richard Fung has called a ‘desexualised zen asceticism’ (in Bad Object Choices 1991: 148). In Kung Fu these images function to partially feminise the western hero, who becomes a gentle, pacifist figure who is able, at the same time, to take on anyone who challenges him. In the same period, a favourite Hollywood theme was that of a white child or adolescent, taken in by an Indian tribe, who is ultimately able to speak on their behalf.14 These strategies keep white men at the centre of the old west, whilst attempting to acknowledge a landscape of racial difference. The themes enshrined within the western have been preserved in a range of settings, from the Australian outback to theurban landscape. In this context, it is common to find reviewers and critics who remark of a given film that it is ‘really a western’, only one that is presented to us ‘in disguise’. The comparison can, it seems, be pursued to some lengths. A reviewer of Michael Winner’s Death Wish(1974) described the film as ‘really no more than an updated Western, a revamping of the one about the upright citizen, liberal and peaceloving . . . who takes the law into his own。