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2017/10/06 第188期 訂閱/退訂看歷史報份
紐時周報精選 Shock of the New. Shock of the Old.舊題材新震撼!31年歷史的邪惡小丑 打敗玩命關頭
In ‘Lord of the Flies’ Remake, Girls Survive Instead小說《蒼蠅王》重拍 變身女版
Shock of the New. Shock of the Old.舊題材新震撼!31年歷史的邪惡小丑 打敗玩命關頭
文/Michael Gold

It only took a day for a sinister 31-year-old clown to outpace the combined powers of Vin Diesel and Dwayne Johnson, aka The Rock.

When the first teaser for “It,” the new film based on Stephen King’s terrifying 1986 novel, was released in March, it spooked its way into a record for the most views online in 24 hours. The trailer picked up 197 million views across platforms in just a single day, leaving the previous record-holder, “The Fate of the Furious” and its 139 million views, in the rearview mirror.



Even after the release of a new “It” trailer in July, the original teaser continued to grab more viewers as the movie’s release approached. And it’s not as if we haven’t seen the story before: The movie’s source material is 3 decades old, and it was previously turned into a TV miniseries in 1990. So somewhere in the course of 2 minutes lay the secret to making footage tied to a familiar story go viral: a mix of callbacks and cameos with fresh suspense.

“It” isn’t the only film to capitalize on this mix of nostalgia and novelty. In October, “Blade Runner 2049” will hit the big screen, revisiting the world of “Blade Runner,” Ridley Scott’s 1982 science-fiction classic. The sequel’s trailers, too, have the challenge of feeling original while connecting with audiences who saw the original.



In both cases, teasers for “It” and “Blade Runner 2049” generate hype through the use of their central figures. One relies on the charisma of a weathered Harrison Ford. The other hinges on the apparitions of a nightmarish clown.




本周選譯的兩篇文章介紹三部現代經典作品的重拍(remake),包括也被視為續集的《銀翼殺手2049》。Teaser(前導短片)指吊人胃口的預告片(trailer),揉合粉絲對原著既熟悉又陌生(mix of nostalgia and novelty)的感知,吸引舊雨新知捧場。

三部作品問世最晚的《牠》都已31年。《銀》片倚重資深影星哈里遜福特飽閱風霜(weathered)的魅力。Weather當動詞指受日曬雨淋的,形容人則是歷經滄桑,仍能屹立不搖。美國短篇小說《棄婦吟》(The Jilting of Granny Weatherall)的阿嬤姓氏即源自此字(weatherall = weather all),卻是很大的諷刺。

《蒼蠅王》審視人性本惡(the inherent evil of humanity)。紐時用的兩個動詞很巧妙,一個是描述男孩的新團體迅速分崩離析(unravel),這個字和系統、計畫或組織連用、當不及物動詞時採此義。當及物動詞常作「條分縷析」解釋,例unravel the mystery 。

動詞片語set in指不愉快的事或壞天氣到來,可能會持續一段時間,例如「猜疑」及「暴力」。先後被用來追思瑪麗蓮夢露及黛安娜王妃的流行歌曲《Candle in the Wind》形容主角的一生宛如風中之燭,偏偏又開始下雨(When the rain set in),真是風雨飄搖。

In ‘Lord of the Flies’ Remake, Girls Survive Instead小說《蒼蠅王》重拍 變身女版
文/Daniel Victor

A planned film adaptation of “Lord of the Flies,” the 1954 novel that examined the inherent evil of humanity through an island of boys without adult supervision, will have a provocative twist: This time, the island will be full of girls.

The concept alone invited immediate scrutiny on social media. But skepticism was inflamed by a fairly common Hollywood story: The film about girls will be written and directed by two men, Scott McGehee and David Siegel.



Using girls “might help people see the story anew,” McGehee said.

“It breaks away from some of the conventions, the ways we think of boys and aggression,” he said. “People still talk about the movie and the book from the standpoint of pure storytelling. It is a great adventure story, real entertainment, but it has a lot of meaning embedded in it as well.”



Theirs would be at least the third adaptation of “Lord of the Flies,” after a 1963 version and another one in 1990. Warner Bros. did not immediately respond to a request for comment.

In the book — spoiler alert — things go badly for the preteen boys, classmates from an English boarding school who become stranded on an island without adults. They first try to work together to survive, but their new society quickly unravels as distrust and violence set in. A favorite of high school English classes, the story has for decades been seen as a cautionary look at how members of mankind can treat one another poorly.



But is it about mankind or about men? Flipping the gender dynamics would lead to an entirely different story, several people argued on Twitter.

In an undated interview, the author of the book, William Golding, who died in 1993, said he was often asked why he wrote about boys instead of girls. He said that it was partly because he grew up as one, but that gender was also crucial to the larger point of the novel:

“If you land with a group of little boys, they are more like scaled-down society than a group of little girls would be. Don’t ask me why, and this is a terrible thing to say, because I’m going to be chased from hell to breakfast by all the women who talk about equality. This has nothing to do with equality at all. I mean, I think women are foolish to pretend they’re equal to men — they’re far superior and always have been. But one thing you cannot do with them is take a bunch of them and boil them down, so to speak, into a set of little girls who would then become a kind of image of civilization, of society.”





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