[原创][翻译]魔女递出了创新的动画世界

无处可淘 发表于 2007-1-26 14:36:42

魔女递出了创新的动画世界
翻译：无处可淘
所有翻译均为动画爱好者交流所用
版权归原作者及所属媒体所有
翻译部分未经允许请勿转载
日本时报 1989-8-29 MARK SCHILLING 
 日本人对动画有很大的嗜好，在现在这个时候随便瞥一眼电视或者电影的进度表你就会确信这一点。不过大部分这种嗜好都充斥着垃圾：无止境的超级英雄梦或者校园幽默。
 但是这样大的潜在观众群（包括着众多的初高中动漫迷），让日本的动漫制作者有更多创造性的自由，这些是他们的欧美同行所不具备的。因为不需要专门给年幼的小朋友（和他们童心未泯的父母）制作动画，日本的动画制作者可以尝试更加复杂的故事情节和处理，而不必担心把观众搞糊涂甚至失去观众群。
 最有创新精神的监督之一就是宫崎骏，20多年前宫崎骏的职业生涯开始于亚洲最大的动画工作室--东映动画。在那段过程中，宫崎骏开始把自由幻想和谨慎观察的现实结合起来，渐渐自成风格。在他的作品里，动物会说话，孩子会飞行，但是在他们施展魔法的同时他们又生活在一个窗子会卡住，女主角会在雨中感冒的世界。因此他作品中丰富而充满爱的细节足以和迪斯尼抗衡。
 在他最近的电影《魔女宅急便》里，宫崎骏把物质和心理的现实主义都达到了新的高度。他的女主角kiki，不过是个骑着不太听使唤的扫帚的魔女（她有在建筑之间跳跃的痛苦习惯）。她也是一个真实的13岁女孩，是对她同龄人有血有肉的演绎。
 影片的脚本.監督宫崎骏，探索了生活电影的一角。除了表现出动漫女主角标准的勇气和胆量外，kiki还经历了厌倦，沮丧和困窘。
 接下来要讲的一段非常有趣。在面包店渡过第一个夜晚以后，kiki醒来后穿着睡衣就出去了。她的阁楼面对庭院，从那里可以看到下面有一间厕所。她小跑下楼梯，冲进厕所。过了一会她向外窥视。令她惊讶的是，那个沉默的大力士面包师正伸展胳膊穿过庭院缓缓的走向贮藏室。在他出离视线以后，她跑上楼梯，扎进房子关上门大口的喘气。
 这段情节对电影的结构没有任何的增益，其所包含的幽默也很少（迪斯尼一定会丢弃这样的情节），宫崎骏对该段的巧妙把握却无言而又有力地表现出kiki的青春、弱点和孤立。这是朴素的胜利但来源于敏锐的观察。它让我们瞬间看出青春期女孩的内心世界。
 电影里处处可见类似的片断，不过片子对小朋友也是一种娱乐。这方面宫崎骏也是成功的，考虑到男孩子们会觉得kiki的冒险故事有些乏味。他把整个故事变成了一个任务：kiki的魔女妈妈，把她修行中的女儿送出去一年以完成魔女的修行。
 经过雨中飞行、睡在货车车厢的一晚，kiki到达了海边的城市。在那里警察并不欣赏她的飞行技艺，旅店也不接受未成年魔女入住。
 在骑着扫帚帮助面包师的妻子送还奶嘴给一位粗心的顾客以后，kiki不用睡公园的长椅了，老板娘收留了她。也正因此老板娘想到kiki可以通过快递服务来支付住宿费。
 于是这样的开头引出了很多故事。在kiki成长的路上她遇到了她最好的朋友--1名18岁的画家、一位关心她幸福的老年妇女和“贼喊捉贼“的13岁男孩。
 这些人在她中途失去魔法最需要家庭的时候替代了家庭的作用。那时她的黑猫不再和她说话，扫帚也飞不起来了。宫崎骏对kiki拼命恢复魔法的描绘是该片最大的成功，其活灵活现地表现出了kiki的绝望、失意和最终的胜利。宫崎骏从不以情节剧为耻，相反，最生动的情节正是类似kiki跑去厕所的小片断，这饱含着真实情感的精华。
 然而影片的设定完全是虚构的，同 shopping bag prose（购物袋散文？）在文化上具有一致性。kiki的城市混合了各种欧洲风格，还搀和旧金山的一部分来达到更好的效果。在这里时间也被以奇特的方式扭曲：街上尽是老式的汽车和房子，却有微波炉。所有这些“错误”都是经过深思熟虑的：他把这座城市变成了古旧魅力和现代便利的奇异混合。在这里年轻魔女的扫帚上挂着小广播是正合适的。
 《魔女宅急变》不仅是一部可以吸引孩子们2小时的影片，它还是对动画艺术可以吸引更广泛观众这一令人惊讶变化的庆祝。
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[此贴子已经被桃夭于2007-1-27 22:36:13编辑过]

无处可淘 发表于 2007-1-26 14:45:43

英文原文
 THE JAPAN TIMES
August 29, 1989:
'Majo' delivers innovative world of animation" 
MARK SCHILLING 
The Japanese have a huge appetite for animation, as one glance at a TV or -- at this time of year -- a movie schedule will confirm. Much of that appetite, of course, is fed with junk: endless recyclings of superhero fantasy or schoolyard humor. 
But this large potential audience, which includes legions of junior and senior high school *anime* fans, has given Japanese animators a creative freedom unknown to most of their American and European counterparts. Instead of catering exclusively to the very young (and their "young-at-heart" parents), they can attempt a more sophisticated storyline and treatment without worrying about confusing -- or losing -- their audience. 
One of the most innovative of these animators is Hayao Miyazaki, who started his career with Toei Animation -- the largest animation studio in Asia -- more than two decades ago. In the course of that career, Miyazaki has developed a highly distinctive style that combines free-form fantasy with a meticulously observed reality. His animals talk and his children fly, but they perform these miracles in a world where windows stick and the heroine catches cold in the rain. And his artwork has a lushness and love of detail that rivals classicDisney. 
In his latest film, "Majo no Takkyubin (Kiki's Delivery Service)," Miyazaki reaches new heights of not only physical but psychological realism. His heroine, Kiki, is more than a witch with a shaky command of her broom (she has a distressing habit of bouncing off buildings). She is also a very real 13-year-old girl -- and a better actress of her flesh-and-blood contemporaries. 
Miyazaki, who produced, directed and wrote the script for the film, explores states usually considered the province of "live" movies. Besides showing courage and spunk -- standard stuff for a cartoon heroine -- Kiki experiences boredom, depression and embarrassment. 
The last is particularly interesting. After spending her first night at the home of a baker and his wife, Kiki wakes up and, still in her nightgown, steps outside. From her second-story room, which opens into a courtyard, she can see an outhouse down below. She trots down the steps, dashes into the outhouse and, a few moments later, peeps out. To her surprise, she sees the baker -- a young, silent giant -- stretching his muscles and walking slowly across the courtyard toward a storeroom. The moment he is out of sight, she runs back up the steps, dives into her room and shuts the door, breathing hard. 
This scene does absolutely nothing to advance the plot and the humor in it is low (Disney would reject it out of hand), but in Miyazaki's hands it wordlessly -- and eloquently -- expresses Kiki's youth, vulnerability and isolation. A small triumph of understated but sharp observation, it allows us, for one clear moment, to see into the heart of an adolescent girl. 
The movie is sprinkled with similar moments, but it is also very much an entertainment for kids. Here again, Miyazaki is successful, though boys might find Kiki's adventures a little tame. The story is a quest: Kiki's mother, a witch, sends her witch-in-training daughter on a yearlong journey to complete her apprenticeship. 
Kiki, after spending a rough night riding through the rain and sleeping in a boxcar, arrives at a city on the seacoast. Here she finds that policemen do not appreciate her aerial acrobatics and that hotels do not accept underage witches. 
She is saved from the park bench by a baker's wife, who offers her a room after Kiki helps her return a pacifier (by broom, of course) to a forgetful customer. This gives the baker's wife an idea: Kiki can pay for her room and board by operating a delivery service. 
Thus title -- and the premise for much of the action. On her rounds Kiki meets an 18-year-old artist who becomes her best friend, an elderly lady who takes an interest in her welfare and a 13-year-old boy who makes a pest of himself. 
These people become a substitute family, one that she needs very much when, midway through her stay, she loses her powers. Her black cat no longer talks to her, her broom no longer rises into the air. Miyazaki's depiction of her struggle to regain those powers is his great achievement in this film, and he shows her desperation, despair -- and eventual triumph -- with striking vividness. He doesn't shy from melodrama, but the most telling scenes tend to be the smaller ones that, like Kiki's race from the outhouse, contain nuggets of emotional truth. 
The setting, however, is a complete fiction, with the cultural coherence of shopping bag prose. Kiki's city is a jumble of European styles, with a dash of San Francisco thrown in for good measure. Time is also warped in strange ways: The streets are filled with old-time cars, the houses, with microwave ovens. All of these "mistakes," however, are quite deliberate: They make the city a pleasantly bizarre blend of old-fashioned charm and modern convenience where a young witch with a Walkman hanging from her broom can fit right in. 
"Kiki's Delivery Service" is more than a place to park the kids for two hours -- it is a surprisingly moving celebration of the animator's art that deserves a wider audience.

胖布头 发表于 2007-1-26 20:53:37

好文,支持!
嗯嗯...

KOTOKO 发表于 2007-1-27 18:26:25

品评的很不错哦,我也有同感哈,现在回想的话那些片段依然记忆犹新！经典的就是好的！

LapuTa 发表于 2007-1-28 00:18:08

这段情节对电影的结构没有任何的增益，其所包含的幽默也很少（迪斯尼一定会丢弃这样的情节），宫崎骏对该段的巧妙把握却无言而又有力地表现出kiki的青春、弱点和孤立。这是朴素的胜利但来源于敏锐的观察。它让我们瞬间看出青春期女孩的内心世界。
这段印象还是比较深的一说就能立刻回想起来
宫电影中的这种小细节还有很多，，，他观察生活的视角和善于把握细节也是他的作品能打动人的原因吧！

IKIK 发表于 2007-1-28 09:32:09

关于KIKI的一切总是那些生活中小小细节让人最有感触啊!..

dim 发表于 2007-6-14 17:00:14

真是部很温馨的片子，不知道看了多少遍了，每当心情灰暗的时候便想要看的，不是想在其中寻找力量，而是要感受生活的温情……

daxian 发表于 2007-7-26 12:55:24

明年就要踏上社会了
这个暑假第二次看了这本片子
感到
生活是那么的真实而又美好
在此要感谢
宫崎骏前辈
你是动画电影的前辈
更是生活的前辈！
ぁりがとぅ

sandysa 发表于 2007-8-15 09:58:05

每部作品的影响都是具有意义和影响深远的，它们在默默改变这个世界

luyishiliou 发表于 2008-1-24 23:13:21

史料,货真价实的史料!!!

牛奶霍 发表于 2008-11-25 19:25:22

感觉很好 ...........很好..................

3707ubear 发表于 2008-12-4 17:24:07

很喜欢这部电影！！！！！！！！！！！

RadioHead 发表于 2008-12-23 09:09:12

好文！
顶了！

紫海葵小小 发表于 2009-1-22 20:18:52

我刚刚又看了一遍，其实，宫崎骏的那些不是很卖座的动画电影也都很出彩，它们中间充斥着一种人性的细节的感人片段

夏日下的影子 发表于 2009-3-24 21:11:05

13# RadioHead
有违规的嫌疑哦

神隐，油屋 发表于 2010-9-11 11:11:13

我很喜欢琦琦，她很勇敢，很天真，也很乐观很听话，虽然她没有很大的魔力，但她依然坚持乐观，受挫时也并不放弃，是个很惹人喜爱的女孩。
听说日本已经出了《魔女宅急便》的第二部了，讲的是琦琦在满一年后回家乡学会了妈妈的魔法，并回到了海边的小镇。叫《琦琦和她的新魔法》。可惜我们这里没有。

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[原创][翻译]魔女递出了创新的动画世界