[雙語翻譯]--電影外文翻譯--英國恐怖片中的女性魅力（節(jié)選）

1、1000 單詞， 單詞，5600 英文字符， 英文字符，2000 漢字 漢字出處： 出處：Peirse A. The feminine appeal of British horror cinema[J]. New Review of Film & Television Studies, 2015, 13(4):1-18.The feminine appeal of British horror cinemaAlison Pe

2、irseDepartment of Theatre, Film and Television, University of York, York, UKWhen Se´ance on a Wet Afternoon (1964, Bryan Forbes) was set for release, cinema managers were advised that ‘feminine appeal’ was a strong

3、 angle for publicity, and the film went on to be a critical and commercial success. Yet, it is relatively unknown in existing academic histories of horror cinema. The female lead, spiritualist premise and psychologica

4、l horror make it an uneasy bedfellow with existing accounts of 1960s British horror films, which focus on the sexualised colour-saturated violence of Hammer Studios and its associated offspring. This article reverses

5、this trend by revealing a cycle of 1960s black-and-white British horror films whose primary textual address is to women, manifested through complex female characters, interiority and stories of motherhood, stillbirth

6、and child murder. Utilising Mary Ann Doane’s work on maternal melodrama, the article explores the parallels between this cycle and the woman’s film, and draws upon reception analysis in order to consider how the criti

7、cs responded to the female-centred films. It is suggested that not only have film historians failed to note that this cycle exists, but more importantly they have also failed to understand how frightening the films cou

8、ld be for a female audience.This article suggests that – contrary to existing writing – there is a cycle of 1960s British black and white horror films whose primary textual address is to women. The progenitors of thes

9、e texts come not from Hammer but the nervy black and white European horrors, Les Diaboliques (1955, Henri- Georges Clouzot) and Les yeux sans visage (1960, Georges Franju), not to mention Psycho (1960, Alfred Hitchcock

10、). The cycle not only includes Se ´ance on a Wet Afternoon but also The Innocents (1961, Jack Clayton), The Haunting (1963, Robert Wise), Night of the Eagle (1962, Sidney Hayers) and Bunny Lake is Missing (1965,

11、Otto Preminger). These films are often mentioned in passing in horror film histories, frequently under the subheading of ‘psychological thriller’. For example, Murphy’s final comment in his horror chapter is on ‘the o

12、ther important group of horror films made in the 60s are contemporary thrillers which involve madness or the illusion of madness – what Todorov calls “an experience of limits” – rather than supernatural forces’ (1992,

13、199). This may be an ‘important’ group of films to Murphy, but his references to madness films, including Bunny Lake is Missing, take up less than one page. The 1960s films discussed here have become relegated to a br

14、ief reference, a line, a paragraph, a final page in a chapter as a bridging device, or filed away neatly in the catch- all ‘psychological thriller’ footnote, or in the case of Se ´ance on a Wet Afternoon, hardly e

15、ver referenced at all. It is a shame when this cycle of films so clearly provides a basis for later female-led horror films, including Rosemary’s Baby (1968, Roman Polanski) and The Haunting of Julia (1977, Richard Lon

16、craine).英國恐怖片中的女性魅力 英國恐怖片中的女性魅力艾莉森·皮爾斯英國約克郡，約克大學(xué)，影視戲劇系當(dāng)初《雨天迎神會》（1962，布萊恩·福布斯）準(zhǔn)備發(fā)布時(shí)，影院經(jīng)理們被建議說女性魅力是個(gè)有力的宣傳角度，果不其然后來該片取得了評論與商業(yè)上的雙重成功。然而，這部片子在恐怖片電影史上卻比較默默無聞。女主角、巫師人和心理恐怖讓它與二十世紀(jì)六十年代的英國恐怖片顯得有些格格不入，當(dāng)時(shí)的英國恐怖片著重的是漢默電影公司那種

17、充滿性別色彩的暴力和其他一些相關(guān)元素。本文一反常態(tài)，揭示了二十世紀(jì)六十年代英國黑白恐怖片的時(shí)代，當(dāng)時(shí)英國恐怖片的主題是女性，往往通過復(fù)雜的女性形象，內(nèi)在性和諸如母性、死產(chǎn)及兒童謀殺的故事進(jìn)行表現(xiàn)。在瑪麗·安妮·多恩關(guān)于母性情節(jié)劇的研究基礎(chǔ)上，本文探討了這一歷史時(shí)期與女性電影間的平行關(guān)系，并利用接受分析法來分析影評人對女性中心電影的反應(yīng)。文章認(rèn)為電影史學(xué)者們不僅沒注意到這一歷史時(shí)期，而且更為重要的是，他們也沒能理解這類

18、影片對女性觀眾而言會是多么可怕。與現(xiàn)有文獻(xiàn)不同的是，本文認(rèn)為二十世紀(jì)六十年代英國黑白恐怖片的基本文學(xué)主題是女性。這類題材的先行者們并非出自漢默電影公司之手，而是來自具有開拓性的歐洲黑白恐怖片市場，《惡魔》（1955，亨利·喬治·克魯佐）及《無臉之瞼》（1960，喬治·弗朗敘），更不用說《驚魂記》（1960，阿爾弗雷德·希區(qū)柯克）。這一時(shí)期不僅有《雨天迎神會》，還有《無辜的人》（1961，杰克