被好萊塢遺忘的戰地女記者 Hollywood’s Forgotten Heroes: Female War Correspondents

【bobo小天才.輕鬆玩教養】針對家長頭痛的學齡前教養問題開闢解決方案,讓家長輕鬆地教導孩子。 【寫真生活Snap電子報】介紹網友們精彩攝影作品及生活資訊影像情報,快藉由此份報來看你不曾發現的風景!

無法正常瀏覽圖片,請按這裡看說明   無法正常瀏覽內容,請按這裡線上閱讀
新聞  健康  財經  追星  NBA台灣  udn部落格  udnTV  讀書吧  

讀紐時學英文
2019/01/11 第249期 訂閱/退訂看歷史報份
 
 

紐時周報精選 被好萊塢遺忘的戰地女記者 Hollywood’s Forgotten Heroes: Female War Correspondents
流行音樂 改朝換代 The Old Pop Music Is Over. Introducing a Playbook for Pop 2.0.

紐時周報精選
 

被好萊塢遺忘的戰地女記者 Hollywood’s Forgotten Heroes: Female War Correspondents
文/Melena Ryzik
譯/陳韋廷

The voice has stayed with Rosamund Pike. For the new movie “A Private War,” the British actress transformed her posh, rounded speech into a distinctive American rasp, to play Marie Colvin, the Long Island-raised, London-based journalist who was killed in Syria in 2012. On tough occasions, Pike still imagines using her tone: It suggests a woman who gets things done.

這個聲音一直陪伴著羅莎蒙派克(自取中文名「裴淳華」)。為了新電影《私人戰爭》,這位英國女演員把她華麗圓潤的口音轉變為一種獨特的美國腔,來飾演2012年於敘利亞遇難、長島長大的駐倫敦記者瑪麗·柯爾文。裴淳華現在身處艱難時刻時,仍想像自己使用著柯爾文的聲調,而那意味的是一個能把事情做好的女人。

That voice, along with the patch Colvin wore after she lost an eye to a grenade in Sri Lanka, became her calling cards as she catapulted into war zones around the world, and wrote deeply felt, courageously reported articles for The Sunday Times in London. “A Private War”aims to realistically portray her struggles and explain why she persisted. And it could have scarcely arrived at a more apt, and fraught, time.

那個聲音以及柯爾文在斯里蘭卡被手榴彈炸掉一眼後所戴的眼罩,在她闖入世界各地戰區,為倫敦「周日泰晤士報」撰寫真摯而勇敢的報導時,也變成了她的名片。《私人戰爭》旨在真實描述她的奮鬥,並解釋何以她要堅持,而它幾乎不可能在一個更為恰當和令人憂心的時刻到來。

“This movie has all Marie’s gestures and movements,” the CNN and PBS anchor Christiane Amanpour, who knew Colvin, wrote in an email. “She was killed, probably directly targeted, for getting the truth out about the Syria war. It’s especially relevant given the murder of the Saudi journalist Jamal Khashoggi last year. He too was simply speaking the truth.”

認識柯爾文的CNN與PBS主播亞曼普在一封電子郵件中寫道:「這部電影有著瑪麗所有的姿態與動作。她因為揭露敘利亞戰爭真相而遇害,很可能是被直接鎖定。鑑於去年沙國記者哈紹吉被謀殺,此事別具意義,而他也只是在述說真相。」

Colvin’s story — her rise as an international correspondent reporting on conflicts in the Middle East, the Balkans and elsewhere; her bravery going into hostile territory to document the civilian cost of war; and ultimately, her death while covering a relentless battle in Homs — is in some ways tailor-made for the big screen. She was undeniably gutsy but suffered post-traumatic stress disorder and other psychological and physical ills from witnessing so much trauma.

柯爾文因為報導中東、巴爾幹半島等地的衝突而發跡成為一名國際記者,勇敢進入作戰地區紀錄民間因戰爭而付出的代價,以及最終在報導荷姆斯一場無情戰役中去世,她的事跡在某種程度上來說是為大銀幕量身打造的。無可否認的,她很勇敢,卻也由於目睹如此多的創傷,她罹患了創傷後壓力症以及其他心理與身體疾病。

Women like Colvin — and those before her, like the British correspondent Clare Hollingworth, who broke the news of World War II in Europe, and pioneering photojournalists like Gerda Taro and Dickey Chapelle — have been at the front of conflicts for a century or more, delivering rich material, with fascinating personal tales.

像柯爾文這樣以及在她之前的那些女性,例如在歐洲率先報導二戰爆發新聞的英國記者克萊爾.霍林沃思,以及攝影記者先驅如潔妲.塔羅和迪基·夏佩爾,投身衝突前線已長達一個世紀甚或更久,她們提供了豐富的新聞材料,講述了引人入勝的個人故事。

And yet “A Private War” is one of only a handful of Hollywood features that put the focus squarely on female war correspondents in the field — perhaps only the third or fourth such film in decades.

By contrast, dozens have followed male journalists abroad, said Matthew Ehrlich, author of “Journalism in the Movies” and a professor emeritus at the University of Illinois at Urbana-Champaign.

然而,《私人戰爭》是好萊塢為數不多的幾部直接聚焦於戰地女記者的劇情片之一,或許只是幾十年來的第三或第四部。著有《電影中的新聞業》一書的香檳伊利諾大學榮譽教授馬修.艾里希表示,相比之下,卻有數十部片子講述在國外採訪的男記者的故事。

Accurately reflecting these women in pop culture “is massively important,” Amanpour said. “Especially since females in the field are often portrayed as frivolous, slightly hysterical, sexually promiscuous appendages!

I still feel so bad for Martha Gellhorn, the brilliant WWII correspondent, who’s forever known as Ernest Hemingway’s (third) wife.”

亞曼普說,精確地反映這些大眾文化中的女性「非常重要」。「尤其因為這領域的女性常被描繪成輕浮、略帶歇斯底里、性行為放浪的附屬物!我仍舊為傑出的二戰記者瑪莎.蓋爾霍恩感到很難過,她永遠只以海明威的(第三任)妻子為世人所知。」

※說文解字看新聞 文/張佑生

標題的Forgotten Heroes與「時代」雜誌選出的2018「年度風雲人物」(Person of the Year),字面意義南轅北轍,指涉的同是致力於揭露、訴說真相的記者。Unsung heroes也是指「無名英雄」。

聲調和眼罩成為柯爾文出入各地戰區的calling card。這個詞在美語指「名片」,英語則是「電話卡」:英語用visiting card稱呼名片。本文採象徵意義,類似「招牌特徵」:The floods were the calling card of climate change.

女性戰地記者典型在夙昔,卻很少成為好萊塢電影主角。一手能掌握(handful)的量當然很少,中文對應字是「掬」。艾略特(T. S. Eliot)的詩作「荒原」(The Waste Land)寫道:I will show you fear in a handful of dust.「一掬塵土中的恐懼」源自古希臘女預言家西比爾(Sibyl)的傳說,指的是對不斷老化卻求死不得的恐懼。艾氏好用典,此為一例。

 

流行音樂 改朝換代 The Old Pop Music Is Over. Introducing a Playbook for Pop 2.0.
文/Jon Caramanica
譯/張江寧

What pop means changes depending on what angle you’re looking from. It can be a descriptor of audience size, indicating something that’s popular, or it can be a genre tag, specifying a sound. But for much of the past three decades, these two definitions have effectively been one and the same.

「流行音樂」一詞的定義取決於從什麼角度去看它。它可以是界定受眾多寡的符號,顯示某樣東西是否熱門,也可以是一張類型標籤,用來指特定的音樂類型。然而卅年來在頗長的時間裡,這兩個定義幾乎合為一體。

You know the sort: Katy Perry’s confetti cheer, Justin Timberlake’s feather-light chirps, Lady Gaga’s exorbitant theater, Taylor Swift’s guileless guile. Music that strives for gloss, pep, ecstasy, spectacle. Often an expression of whiteness, too. A one-size-fits-all solution.

你絕對熟悉那種音樂,凱蒂佩芮五彩碎紙般的奔放歡呼,賈斯汀輕如羽毛的滑音尖唱,女神卡卡隆重奢華的戲劇效果,和泰勒絲看似無邪的使壞。那種試圖營造光鮮亮麗、活力充沛、極度狂喜,和壯觀場面的樂曲。這種音樂往往也以白人為主要受眾。一體適用的解決之道。

For a time, in the 1980s, this kind of pop music — think of Michael Jackson and Madonna — was effectively monoculture, which is why the two meanings of pop have been so tightly tethered and so difficult to disentangle.

一九八○年代有段時間,這一種流行樂——想想麥可傑克森和瑪丹娜就好——基本上完全同質。這也是流行樂兩種意義緊密相連、難捨難分的原因。

But in the past couple of years, this framework has been almost completely dismantled, owing in large part to the widespread adoption of streaming. What were once regarded merely as pop subgenres — K-pop, Latin trap, melodic hip-hop and more — have become the center of the conversation.

然而在過去這幾年裡,這個框架幾乎完全被打破,這與串流音樂廣為普及大有關係。過往僅被視為次類型的南韓流行歌、拉丁曲風、旋律嘻哈等樂種,儼然成了舞台上的主角。

This is not an arbitrary agglomeration of styles. This is Pop 2.0 — music that comes from several different scenes but works with its own distinct set of rules. It is the first time in decades that the playbook for pop success has been updated, and it has profoundly reshaped the sound of America.

這可不是武斷的類別區分。這是全新一代的流行樂。音樂來自不同文化背景,卻自有一套清楚的運作規矩。這是數十年來流行音樂的致勝攻略首度更新,而這也大大重塑了美國樂壇。

Previously, when artists from hip-hop, country or hard rock were said to be going pop, that implied they were sacrificing something essential about themselves in exchange for something plastic and transitory. Pop was a softening. A compromise.

在過去,外界若說某一嘻哈、鄉村,或硬式搖滾樂手轉向流行樂風,往往暗指他們犧牲了自己的核心特質,換取更人工化而短暫的東西。流行樂過去是軟化、妥協的同義詞。

Now, thanks to the largely frictionless internet, and the evolution in how Billboard calculates its charts — accounting for streaming data in addition to sales and radio play — these styles top the charts in unfiltered fashion. Hip-hop almost completely dominates streaming. Latin trap and reggaeton thrive on YouTube.

K-pop, the dominant sound of young South Korea, has become a live-concert blockbuster and outrageously popular online worldwide.

而現在,由於網路幾乎暢行無阻,告示牌也改變了排行榜的計算方式——除唱片銷售和電台點播數字外,也計入串流量。上述的幾種音樂直截了當地名列前茅。嘻哈樂幾乎獨霸串流樂。拉美和雷鬼音樂在Youtube上隨處可見。南韓流行樂——來自南韓新生代的主流聲音,不僅橫掃全球演唱會票房,在網路上更是紅到不行。

All of that has made for Billboard charts that look vastly different than they did a decade ago and sets the template for how all of pop music will sound moving forward.

凡此種種,都使現在的告示牌排行榜和十年前看來大不相同,也替整體流行樂的前行之路定好了調。

 

訊息公告
 

五十肩 不是50歲族群的專利
當一群50歲上下的人談到肩痛時,都有說不完的疼痛經;然而五十肩並不是50歲族群的專利,年輕人也會得到五十肩,而肩痛也不一定都是五十肩。

兩腳書櫥的俠女——王語嫣
待字閨中的王語嫣渾不會武功,卻硬生生熟記天下武學,以淵博學識作為籠絡心上人的禽犢,這此中,武典裡一招一式的刀劍相拚,全都承載著她對慕容復的癡戀。閱讀於她,是最苦澀也最甜美的初心。

 

本電子報著作權均屬「聯合線上公司」或授權「聯合線上公司」使用之合法權利人所有,
禁止未經授權轉載或節錄。若對電子報內容有任何疑問或要求轉載授權,請【
聯絡我們】。
  免費電子報 | 著作權聲明 | 隱私權聲明 | 聯絡我們
udnfamily : news | video | money | stars | health | reading | mobile | data | NBA TAIWAN | blog | shopping