英国卫报：萨达姆雕像的倒塌：美军如何制造神话(7)

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There were two reasons for this.

原因有二。

First, the events were carefully choreographed¹ through the media: the coalition² military controlled which images could be shown, and which journalists were allowed to report.

首先，这些事件是通过媒体精心策划的：联军军队控制了哪些图片可以公开，哪些记者可以报道。

The television-watching public audience in the west was shown non-stop video footage of firework-like bombings, and point-of-view shots of missiles heading to their targets.

西方的电视观众看到了不间断的类似烟花爆炸的视频以及导弹飞向目标的视角射击。

The effect was that of playing a computer game: clean, surgical³, without consequences.

其效果就像玩电脑游戏一样：干净利落、没有后果。

Second, Baudrillard argued, the outcome of the war was never really in doubt: it was "won in advance".

其次，鲍德里亚认为，从来没有人真正怀疑过这场战争的结果：它“预定会赢”。

The coalition was always going to win, and Saddam, for all his posturing⁴, was in no position to fight back.

联军总是会赢，而萨达姆，尽管他摆出各种姿态，却没有反击的余地。

This simulated war was "stripped of its passions, its phantasms, its finery, its veils, its violence, its images: war stripped bare by its technicians even, and then reclothed by them with all the artifices⁵ of electronics, as though with a second skin".

这场模拟战争“被剥去了激情、幻想、华丽、面纱、暴力和形象：这场战争甚至被它的技术人员剥得光秃秃的，然后又被他们重新穿上了电子技术的欺骗伎俩，仿佛披上了第二层皮肤。”

The hyperreality of the Gulf⁶ war that Baudrillard described caught the imaginations of writers, artists and film-makers.

在鲍德里亚的描述下，海湾战争的超现实主义激发了作家、艺术家和电影制作人的想象力。

It looked ever more prescient as the internet began to connect the world.

当互联网开始连接世界时，它看上去越发有预见性了。

Excitement and anxieties about real versus⁷ virtual experiences grew.

对真实体验和虚拟体验的兴奋和焦虑与日俱增。

A hyperreal war was played out in the 1997 political comedy film Wag the Dog (loosely based on a 1993 novel), in which an American president creates a fictional⁸ war abroad to distract from a sex scandal at home.

1997年的政治喜剧电影《摇尾狗》(根据1993年的小说改编)讲述了一场超真实的战争。在这部电影中，一位美国总统在国外制造了一场虚构的战争以转移人们对国内性丑闻的注意力。

Hyperreality was the basis of the 1999 action science-fiction blockbuster The Matrix.

超现实是1999年动作科幻大片《黑客帝国》的基础。

The character Morpheus is quoting Baudrillard when he says: "Welcome to the desert of the real."

莫斐斯引用了鲍德里亚的话，“欢迎来到现实的沙漠。”

In 2003, when US-led forces launched Operation Iraqi Freedom and invaded Iraq, the situation would be different.

2003年，当美国领导的部队发动“伊拉克自由行动”并入侵伊拉克时，情况变了。

This war would be fought both in "the desert of the real" and in the real desert. A ground invasion was the focus.

这场战争将在“现实的沙漠”和真正的沙漠中进行。地面入侵是重点。

Resistance was put up by Iraqi forces, and territory was occupied by the coalition, though this war, too, was effectively "won in advance".

伊拉克军队进行了抵抗，联军占领了领土，然而这场战争实际上也“预定会赢”。

1 choreographed   

v.设计舞蹈动作( choreograph的过去式和过去分词 )

参考例句：

• There was some carefully choreographed flag-waving as the President drove by. 总统的车经过时，人们按精心编排的动作挥舞着旗帜。
• Achim had choreographed the dance in Act II himself. 阿希姆自己设计了第2幕的舞蹈动作。 来自辞典例句

2 coalition   

n.结合体，同盟，结合，联合

参考例句：

• The several parties formed a coalition.这几个政党组成了政治联盟。
• Coalition forces take great care to avoid civilian casualties.联盟军队竭尽全力避免造成平民伤亡。

3 surgical   

adj.外科的，外科医生的，手术上的

参考例句：

• He performs the surgical operations at the Red Cross Hospital.他在红十字会医院做外科手术。
• All surgical instruments must be sterilised before use.所有的外科手术器械在使用之前，必须消毒。

4 posturing   

做出某种姿势( posture的现在分词 )

参考例句：

• She was posturing a model. 她正在摆模特儿的姿势。
• She says the President may just be posturing. 她说总统也许只是在做样子而已。

5 artifices   

n.灵巧( artifice的名词复数 )；诡计；巧妙办法；虚伪行为

参考例句：

• These pure verbal artifices do not change the essence of the matter. 这些纯粹是文词上的花样，并不能改变问题的实质。 来自互联网
• There are some tools which realise this kind of artifices. 一些工具实现了这些方法。 来自互联网

6 gulf   

n.海湾；深渊，鸿沟；分歧，隔阂

参考例句：

• The gulf between the two leaders cannot be bridged.两位领导人之间的鸿沟难以跨越。
• There is a gulf between the two cities.这两座城市间有个海湾。

7 versus   

prep.以…为对手，对；与…相比之下

参考例句：

• The big match tonight is England versus Spain.今晚的大赛是英格兰对西班牙。
• The most exciting game was Harvard versus Yale.最富紧张刺激的球赛是哈佛队对耶鲁队。

8 fictional   

adj.小说的，虚构的

参考例句：

• The names of the shops are entirely fictional.那些商店的名字完全是虚构的。
• The two authors represent the opposite poles of fictional genius.这两位作者代表了天才小说家两个极端。