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(单词翻译:双击或拖选)
Books & arts
图书与艺术
Cinema and reality
镜头和现实
The director’s cut
导演的剪辑
A bold Ukrainian film-maker charts the line between fiction and truth
一位大胆的乌克兰电影制作人画出了虚构与真实之间的界线
In the opening scene of “Donbass”, the latest feature film by Sergei Loznitsa, a hotch-potch group of extras gather in a makeup1 trailer. The shaky footage follows them as they are escorted to the site of a staged mortar2 attack in Russian-controlled territory in eastern Ukraine. There, for the benefit of a separatist news crew, they bemoan3 the depredations4 of the Ukrainian army. In the film, the explosion is a stunt5, but the damage is genuine— much like the real-life conflict.
在谢尔盖·洛兹尼察的最新故事片《顿巴斯》的开场场景中,一群大杂烩般的临时演员聚集在一辆化妆拖车里。在这段不稳定的视频中,他们被护送到乌克兰东部俄罗斯控制地区的迫击炮袭击现场。在那里,为了一个分离主义新闻团队的利益,他们哀叹乌克兰军队的掠夺。在电影中,爆炸只是一个噱头,但造成的伤害却是真实的——就像现实生活中的冲突一样。
With its vertiginous6 spiral of fakery, the invented but plausible7 scene captures the essence of Russia’s hybrid8 onslaught against Ukraine. After the revolution of 2013-14 Kremlin-controlled television stations spewed poisonous lies into the disaffected9, Russian-speaking Donbass; next, militants10 and army units rolled in to “defend” the region from phantom11 Ukrainian fascists12. Like a mirror, Mr Loznitsa’s film reflects and inverts13 that process, using fiction to expose the wounds inflicted14 by the annihilation of truth. Not surprisingly, “Donbass” has been banned in Russia.
在令人眩晕的造假漩涡中,这个虚构但看似可信的场景抓住了俄罗斯对乌克兰混合攻击的本质。2013年至2014年的革命之后,克里姆林宫控制的电视台向说俄语、心怀不满的顿巴斯播撒了恶毒的谎言;就像一面镜子,洛兹尼察先生的电影反映和逆转了这一过程,用虚构来揭露真相被毁灭所造成的创伤。毫不奇怪,《唐巴斯》在俄罗斯已经被禁。
The boundary between reality and lies, fiction and history, is one of the world’s most contested borders. It runs squarely through the propaganda-warped badlands of eastern Ukraine—and through Mr Loznitsa’s powerful oeuvre. In both his feature films and documentaries, his aim is the opposite of the propagandists’: to present the essential truth of what happened, and—an even harder task—diligently to make clear what did not happen, too.
现实与谎言、虚构与历史之间的边界,是世界上最具争议的边界之一。它直接贯穿于乌克兰东部扭曲的不毛之地的宣传之中,也贯穿于罗兹尼察的全部作品之中。在他的故事片和纪录片中,他的目标都与宣传者的相反:为了展现已经发生的事情的本质真相,以及一项更加艰巨的任务——勤奋地弄清没有发生的事情。
1 makeup | |
n.组织;性格;化装品 | |
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2 mortar | |
n.灰浆,灰泥;迫击炮;v.把…用灰浆涂接合 | |
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3 bemoan | |
v.悲叹,哀泣,痛哭;惋惜,不满于 | |
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4 depredations | |
n.劫掠,毁坏( depredation的名词复数 ) | |
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5 stunt | |
n.惊人表演,绝技,特技;vt.阻碍...发育,妨碍...生长 | |
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6 vertiginous | |
adj.回旋的;引起头晕的 | |
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7 plausible | |
adj.似真实的,似乎有理的,似乎可信的 | |
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8 hybrid | |
n.(动,植)杂种,混合物 | |
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9 disaffected | |
adj.(政治上)不满的,叛离的 | |
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10 militants | |
激进分子,好斗分子( militant的名词复数 ) | |
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11 phantom | |
n.幻影,虚位,幽灵;adj.错觉的,幻影的,幽灵的 | |
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12 fascists | |
n.法西斯主义的支持者( fascist的名词复数 ) | |
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13 inverts | |
v.使倒置,使反转( invert的第三人称单数 ) | |
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14 inflicted | |
把…强加给,使承受,遭受( inflict的过去式和过去分词 ) | |
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