[雙語翻譯]攝影外文翻譯--移動景觀電影，運載工具和移動攝影（英文）

1、131SAC 5 (2) pp. 131–143 Intellect Limited 2011Studies in Australasian Cinema Volume 5 Number 2© 2011 Intellect Ltd Article. English language. doi: 10.1386/sac.5.2.131_1KEYWORDSlandscape space vehicle movement Pha

2、ntom Ride travelling shotJOHN EDMOND University of QueenslandMoving landscapes: Film, vehicles and the travelling shotABSTRACTThis article maps out the cinematic usage of ‘travelling shots’, or shots created through af

3、fixing a camera to a vehicle. This article initially examines the earliest examples of such shots, the nineteenth century train-mounted ‘Phantom Rides’ that synthesized two iconic technologies of modernity, rail and fi

4、lm, to create a form of camera movement that demonstrated the new technologies’ mastery of space. This article asks what happened to this trope of movement as prowess. To this end, using the conceptual frameworks prov

5、ided by film historian Tom Gunning’s concept of a ‘cinema of attractions’ and fellow film historian Charles Musser’s concept of a ‘cinema of contemplation’, narrative films are analysed in relation to how the trav- ell

6、ing shot was co-opted for thematic means. Salient travelling shots, sourced from the nineteenth century Phantom Rides to 2009s Harry Potter and the Half-Blood Prince are used to trace the lineage of the travelling shot

7、 up into our present time. By examining how film-makers have adapted travelling shots for integration within narrative films, and accommodated such new cinematic and transport technologies as CGI and helicopters, a fo

8、undation for understanding the rhetorical impulses of travelling shots is developed.SAC_5.2_Edmond_131_143.indd 131 SAC_5.2_Edmond_131_143.indd 131 9/22/11 8:45:41 AM 9/22/11 8:45:41 AMDownloaded by [Wagner Coll

9、ege] at 00:10 11 September 2017 Moving landscapes133allowing otherwise unpopular extended shot lengths to be used and therefore producing more sustained depictions of a film’s geographic setting.Haverstraw Tunnel is rep

10、resentative of the form that most travelling shots took before the rise of narrative cinema: short, self-contained films with little or no narrative, except that given by a presenter or by surrounding films (Gunning 20

11、06: 25). These shorts were so popular and prolific that they had their own genre name, Phantom Rides, and themed theatres to play them, most famously the Hale’s Tours franchise whose theatres simulated a rail carriage

12、 (Kirby 1997; Gunning 1986: 66–67; Griffiths 1999: 283).UNEXPECTED SPACE: TRAVELLING SHOTS AS CINEMATIC ATTRACTIONSGunning’s concept of a ‘cinema of attractions’ is helpful in understanding the popularity of Phantom Ri

13、des. He argues that early film-makers and audiences were less interested in narrative and more interested in a demonstrative spec- tacle (Gunning 1986: 65–67, 1994a: 121). The differing interests at play in the cinema

14、of attractions are apparent in both the form and content of these short films. The form of the shots was as much interested in showing off film’s capa- bilities as anything else, while the subject matter revelled in dis

15、plays of exotic locales, stunts and various new technologies of the modern era (Gunning 1986: 66–67; Griffiths 1999: 282). This last category is particularly pertinent for, as both Gunning and Kirby note, early travel

16、ling shots provided a twofold demonstration of technological prowess: Phantom Rides documented both a vehicle’s ability to move quickly through space and film’s ability to document this movement (Gunning 2006: 37, 198

17、6: 66–67).The makers of Phantom Rides utilized a number of burgeoning propul-sive technologies. The Paris Expo Cinéorama (Grimoin-Sanson 1990) used balloons, Down the Hudson (Armitage and Weed 1903) features a boat

18、 ride, and even the Eiffel Tower elevator was used to create a travelling shot in the case of Elevator Ascending Eiffel Tower (White 1900). However, the most iconic and telling combination was that of rail and film. A

19、s historians Alison Griffiths and Wolfgang Schivelbusch separately note, rail and cinema are the two most iconic technologies of Modernity’s collapse of space: rail helped transport people to distant lands and film vi

20、rtually brought distant lands to the cinema audiences (Griffiths 1999: 284–85; Schivelbusch 1980: 33). The result is that travelling shots became a metaphor for Modernity’s control over space, and simultaneously acted

21、 as documentary proof of modern technology’s control over space. It is this nub of visual rhetoric that has been the mainstay of travelling shots from their existence as Phantom Rides, and through their integration int

22、o narrative films. This rhetoric has not only continued to exist as a histori- cal undercurrent, but has been reinforced by a variety of film-making practices that utilize the travelling shot’s formal and historical qua

23、lities. For instance, as I will discuss in greater detail later, the legacy of travelling shots as an excit- ing cinematic attraction, and our own travelling experiences mean that we are perceptually primed to pay grea

24、ter attention to a film’s setting than normal. Opening shots of movies often take advantage of this by using the excitement and interest provoked by travelling shots to extend otherwise static establish- ing shots befo

25、re picking out a film’s protagonists. That this action aligns the travelling shot with a film’s narrative system is in most cases almost certainly accidental, but no less key in associating the travelling shot with con