改变世界的名人：光影世界写春秋pdf/doc/txt格式电子书下载

书名：改变世界的名人：光影世界写春秋pdf/doc/txt格式电子书下载

推荐语：

作者：《新东方英语》编辑部著

出版社：

出版时间：2015-09-01

书籍编号：30287131

ISBN：

正文语种：中英对照

字数：111821

版次：

所属分类：外语学习-英语读物

版权信息

书名：改变世界的名人：光影世界写春秋

作者：《新东方英语》编辑部

ISBN：8888888888888

。

免责声明：本站所有资源收集整理于网络，版权归原作者所有。
本站所有内容不得用于商业用途。本站发布的内容若侵犯到您的权益，请联系站长删除，我们将及时处理！

From topics.nytimes.com 译/ 辛献云

音频

作为视觉艺术家，宫崎骏既是一位恣意豪放的幻想家，又是一位严谨的自然主义者；作为故事讲述者，他所讲述的寓言故事既让人耳目一新，又给人一种说不出的古老感。他作品的奇妙感既来自于他给拥挤的青少年奇幻作品市场带来的那份新鲜和新奇感，又来自一种令人紧张的神秘离奇的熟悉感，仿佛他将深埋在集体无意识中的传说复活了。

Hayao Miyazaki is regarded by many people as the world\'s greatest maker of animated films. At the age of 71, with more than 20featuresto his credit, Mr. Miyazaki has become a beacon for those who believe that animation has a special power to tell stories with universal appeal. \"He celebrates the quiet moments,\" said John Lasseter, the chief creative officer of Pixar and Disney Animation Studios, inenumeratingtraits that make Mr. Miyazaki \"one of the most original\" filmmakers ever.

Mr. Miyazaki\'s work has often combined computer animation with traditional techniques and has provided inspiration for films like the Toy Storyinstallments, Cars and Up.

Mr. Miyazaki roots are in bothmangaandanime(comic books and animated films). Starting with his 1997 epic, Princess Mononoke, he has used computer-generated imagery in his movies.

The conscious sense of mystery is the core of Mr. Miyazaki\'s art. Spend enough time in his world and you may find your perception of your own world refreshed, as it might be by a similarly intensive immersion in theoeuvreofAnsel Adams,J. M. W. TurnerorMonet. After a while, certain vistas—a rolling meadow dappled with flowers and shadowed by high cumulus clouds, a range of rocky foothills rising toward snow-capped peaks, the fading light at the edge of a forest—deserve to be called Miyazakian.

So do certain stories, especially those involving a resourceful, serious girl contending with the machinations of wise old women and the sufferings of enigmatic young men. And so do certain themes: the catastrophic irrationality of war and other violence; the folly of disrespecting nature; the moral complications that arise from ordinary acts of selfishness, vanity and even kindness.

As a visual artist, Mr. Miyazaki is both anextravagantfantasist and an exacting naturalist; as a storyteller, he is an inventor of fables that seem at once utterly new and almost unspeakably ancient. Their strangeness comes equally from the freshness and novelty he brings to the crowded marketplace ofjuvenilefantasy and from an unnerving, uncanny sense of familiarity, as if he wereresurrectinglegends buried deep in the collective unconscious.

Mr. Miyazaki\'s world is full of fantastical creatures—cute and fuzzy, icky and creepy, handsome and noble. There are lovable forest sprites, skittering dust balls, as well as talking cats, pigs and frogs. Howl\'s Moving Castle, adapted from a novel byDiana Wynne Jones, features agarrulousflame; Spirited Away had its melancholy, wordless no-face monster; Nausicaä of the Valley of the Wind, the director\'s first masterpiece, was nearly overrun by enormous trilobite-shaped insects called Om.

Some of Mr. Miyazaki\'s creations seem to have precedents and analogues in folklore, fantasy literature and other cartoons. Theporcinetitle character in the 1992 film Porco Rosso, for example, is a dashing Italian pilot from the early days of aviation, and it is just conceivable that he might have astutteringcousin somewhere on theWarner Brotherslot, looking for a pair of pants to match his blazer. But most members of Mr. Miyazaki\'s ever-expandingmenagerie—including Totoro, the slow-moving,pot-bellied, vaguelyfelinecharacter who has become the logo andmascotof his Studio Ghibli—come entirely from the filmmaker\'s own prodigious imagination. Mr. Miyazaki was once asked where he thought his work fitted within the expanding universe of children\'s pop culture. \"The truth is I have watched almost none of it,\" he said with a slightly weary smile. \"The only images I watch regularly come from the weather report.\"

The director, a compact, white-haired man whose demeanor combines gravity with a certainimpishness, was not just beingflip. It is hard to think of another filmmaker who is so passionately interested in weather. Violent storms, gentle breezes and sun-filled skies are vital, active elements, bearers of mood, emotion and meaning. His monsters and animals, who share the screen with more conventionally human-looking animated figures—adolescent girls with wind-tossed hair, short skirts and saucer eyes,mustachioedsoldiers and wrinkledcrones—are an integral part of Mr. Miyazaki\'s landscape, but the most striking feature of his films may be the landscapes themselves.

The action in his movies takes place far from thecrampedcities of modern Japan, and also from the futuristic metropolises that provide the dystopian backdrop of so much anime. His characters tend to live in hillside villages or in tidy, old-world towns where half-timbered houseshuddlealong cobblestone streets. As much as they can, in gliders, on broomsticks and under their own magical powers, these characters take to the sky; theevocationof flying, formetaphoricalpurposes and for the

....