作者：《新东方英语》编辑部
出版社：北京语言大学出版社
格式: AZW3, DOCX, EPUB, MOBI, PDF, TXT
新东方·让生命绽放美丽:改变世界的50位名人(下)试读：
光影世界写春秋
最期盼的一刻，便是灯光暗去，银幕亮起；
在那一刻，我可以放松心情，张开双臂，落入梦一般的光影世界。
在那里，我可以跟随米老鼠唐老鸭，去体验最无忧无虑的欢乐生活；
在那里，我可以进入宫崎骏的动画世界，去欣赏世上最美的风景。
但我心中最渴望的，是结识银幕背后的那些人：
我想知道拍过《断背山》《卧虎藏龙》的李安，
为何选择去挑战《少年派的奇幻漂流》；
我想知道拍出了《僵尸新娘》《剪刀手爱德华》的鬼才导演蒂姆·伯顿，
何以能想出诡异却令人难忘的人物和情节；
我还想知道，
这些光影世界的创造者
是否也有着
如同他们的电影一般
一段不同寻常的人生……Great DirectorsHayao Miyazaki: Celebrating the Quiet Moments宫崎骏：歌颂平静的时刻From topics.nytimes.com 译/ 辛献云音频作为视觉艺术家，宫崎骏既是一位恣意豪放的幻想家，又是一位严谨的自然主义者；作为故事讲述者，他所讲述的寓言故事既让人耳目一新，又给人一种说不出的古老感。他作品的奇妙感既来自于他给拥挤的青少年奇幻作品市场带来的那份新鲜和新奇感，又来自一种令人紧张的神秘离奇的熟悉感，仿佛他将深埋在集体无意识中的传说复活了。
Hayao Miyazaki is regarded by many people as the world's greatest maker of animated films. At the age of 71, with more than 20 featuresto his credit, Mr. Miyazaki has become a beacon for those who believe that animation has a special power to tell stories with universal appeal. "He celebrates the quiet moments," said John Lasseter, the chief creative officer of Pixar and Disney Animation Studios, in enumeratingtraits that make Mr. Miyazaki "one of the most original" filmmakers ever.
Mr. Miyazaki's work has often combined computer animation with traditional techniques and has provided inspiration for films like the Toy Story installments, Cars and Up.
Mr. Miyazaki roots are in both mangaand anime(comic books and animated films). Starting with his 1997 epic, Princess Mononoke, he has used computer-generated imagery in his movies.
The conscious sense of mystery is the core of Mr. Miyazaki's art. Spend enough time in his world and you may find your perception of your own world refreshed, as it might be by a similarly intensive immersion in the oeuvreof Ansel Adams, J. M. W. Turneror Monet. After a while, certain vistas—a rolling meadow dappled with flowers and shadowed by high cumulus clouds, a range of rocky foothills rising toward snow-capped peaks, the fading light at the edge of a forest—deserve to be called Miyazakian.
So do certain stories, especially those involving a resourceful, serious girl contending with the machinations of wise old women and the sufferings of enigmatic young men. And so do certain themes: the catastrophic irrationality of war and other violence; the folly of disrespecting nature; the moral complications that arise from ordinary acts of selfishness, vanity and even kindness.
As a visual artist, Mr. Miyazaki is both an extravagantfantasist and an exacting naturalist; as a storyteller, he is an inventor of fables that seem at once utterly new and almost unspeakably ancient. Their strangeness comes equally from the freshness and novelty he brings to the crowded marketplace of juvenilefantasy and from an unnerving, uncanny sense of familiarity, as if he were resurrectinglegends buried deep in the collective unconscious.
Mr. Miyazaki's world is full of fantastical creatures—cute and fuzzy, icky and creepy, handsome and noble. There are lovable forest sprites, skittering dust balls, as well as talking cats, pigs and frogs. Howl's Moving Castle, adapted from a novel by Diana Wynne Jones, features a garrulousflame; Spirited Away had its melancholy, wordless no-face monster; Nausicaä of the Valley of the Wind, the director's first masterpiece, was nearly overrun by enormous trilobite-shaped insects called Om.
Some of Mr. Miyazaki's creations seem to have precedents and analogues in folklore, fantasy literature and other cartoons. The porcinetitle character in the 1992 film Porco Rosso, for example, is a dashing Italian pilot from the early days of aviation, and it is just conceivable that he might have a stutteringcousin somewhere on the Warner Brotherslot, looking for a pair of pants to match his blazer. But most members of Mr. Miyazaki's ever-expanding menagerie—including Totoro, the slow-moving, pot-bellied, vaguely felinecharacter who has become the logo and mascotof his Studio Ghibli—come entirely from the filmmaker's own prodigious imagination. Mr. Miyazaki was once asked where he thought his work fitted within the expanding universe of children's pop culture. "The truth is I have watched almost none of it," he said with a slightly weary smile. "The only images I watch regularly come from the weather report."
The director, a compact, white-haired man whose demeanor combines gravity with a certain impishness, was not just being flip. It is hard to think of another filmmaker who is so passionately interested in weather. Violent storms, gentle breezes and sun-filled skies are vital, active elements, bearers of mood, emotion and meaning. His monsters and animals, who share the screen with more conventionally human-looking animated figures—adolescent girls with wind-tossed hair, short skirts and saucer eyes, mustachioedsoldiers and wrinkled crones—are an integral part of Mr. Miyazaki's landscape, but the most striking feature of his films may be the landscapes themselves.
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