认识电影——第一章 摄影 PHOTOGRAPHY (8)
1.8 The Cinematographer
电影摄影师
The cinema is a collaborative enterprise, the result of the combined efforts of many artists, technicians, and businesspeople. Because the contributions of these individuals vary from film to film, it's hard to determine who's responsible for what in a movie. Most sophisticated viewers agree that the director is generally the dominant artist in the best movies. The principal collaborators—actors, writers, cinematographers—perform according to the director's unifying sensibility. But directorial dominance is an act of faith. Many films are stamped by the personalities of others—a prestigious star, for example, or a skillful editor who manages to make sense out of a director's botched footage.
电影是集合不同艺术家、技师以及商人共同努力的合作事业。由于每部电影个人的贡献均不同，我们很难决定一部电影哪个人的功绩如何。较世故的观众明了导演是大部分好片子中最重要的人，因为他的搭档（如演员、编剧、摄影师）均遵从他的指示行事。但是有些电影，其他人的影响反而比导演重要——例如著名的明星，或某个技艺高超，能将导演的“毛片（footage）”剪出特色的剪辑师。
Cinematographers sometimes chuckle sardonically when a director's visual style is praised by critics. Some directors don't even bother looking through the viewfinder and leave such matters as composition, angles, and lenses up to the cinematographer. When directors ignore these important formal elements, they throw away some of their most expressive pictorial opportunities. They function more like stage directors, who are concerned with dramatic rather than visual values—that is, with the script and the acting rather than the photographic quality of the image itself.
有些评论不明就里地推崇导演的“视觉风格”，引起摄影师的讪笑。因为有些导演是看也不看观景器（view finder），而将构图、角度、镜头的细节选择一股脑儿交给摄影师。一般来说，导演最起码会咨询摄影师的意见。如果他完全忽视这些视觉因素，就是自己放弃视觉表达的机会。这样只会让它变成舞台式的导演，只重戏剧性（剧本、表演），而不关心影像本身。
On the other hand, a few cinematographers have been praised for their artistry when in fact the effectiveness of a film's images is largely due to the director's pictorial skills. Hitchcock provided individual frame drawings for most of the shots in his films, a technique called storyboarding. His cinematographers framed up according to Hitchcock's precise sketches. Hence, when Hitchcock claimed that he never looked through the viewfinder, he meant that he assumed his cinematographer had followed instructions.
有时候，摄影师的成就也会被过度褒扬，真正的功劳也许属于导演。比如希区柯克的电影，几乎每个镜头均有草图详细绘制（即分镜表 [storyboard] ）。他的摄影师根据希区柯克精细的草图设计镜头。所以当希区柯克声称他从来不看观景器，他的意思是说他认为他的摄影师已经遵照了他的指令。
Sweeping statements about the role of the cinematographer are impossible to make, for it varies widely from film to film and from director to director. In actual practice, virtually all cinematographers agree that the style of the photography should be geared as a glamour photographer at MGM and for many years was know as "Greta Garbo's cameraman." Yet Daniels also shot Erich von Stroheim's harshly realistic Greed, and the cinematographer won an Academy Award for his work in Jules Dassin's The Naked City, which is virtually a semidocumentary.
对摄影师角色的彻底陈述是不可能做到了，因为它会随着电影和导演的变化而变化。在实际实践中,几乎所有的摄影师都认为摄影的风格应该像有魅力的、在米高梅（MGM——多年来被称为“葛丽泰·嘉宝的摄影师”）工作的摄影师一样,像齿轮传送一样完美。然而,丹尼尔斯（Daniels）也拍摄了艾利·冯·史托洛海姆（ Erich von Stroheim）的极其现实的影片《贪婪》（Greed）,而且他还因在朱尔斯·达辛（Jules Dassin）的影片《不夜城》（The Naked City）（几乎是一部伪纪录片）中工作，获得奥斯卡最佳摄影。
During the big-studio era, most cinematographers believed that the aesthetic elements of a film should be maximized—beautiful pictures with beautiful people was the goals. Today such views are considered rigid and doctrinaire. Sometimes images are even coarsened if such a technique is considered appropriate to the dramatic materials. For example, Vilmos Zsigmond, who photographed Deliverance, didn't want the rugged forest setting to appear too pretty because beautiful visuals would contradict the Darwinian theme of the film. He wanted to capture what Tennyson described as "nature red in tooth and claw." Accordingly, Zsigmond shot on overcast days as much as possible to eliminate the bright blue skies. He also avoided reflections in the water because they tend to make nature looks cheerful and inviting. "You don't make beautiful compositions just for the sake of making compositions," cinematographer Laszlo Kovacs has insisted. Content always determines form; form should be the embodiment of content.
在大制片厂时代，大多数电影摄影师认为,电影的美学元素应该被最大化——美丽的图画和漂亮的人就是目标。今天这样的观点被认为是僵化和教条主义的。有时，如果一种技术被认为是适当的戏剧性材料，图像甚至会粗鄙不堪。例如，维尔莫斯·齐格蒙德（Vilmos Zsigmond）拍摄《激流四勇士》（ Deliverance）时,不愿让崎岖的森林显得太漂亮，因为漂亮的视觉效果将与达尔文优胜劣汰的电影主题不合。他想捕捉的是泰尼森（Tennyson）所形容的“魔爪獠牙的大自然”。因此，齐格蒙德尽可能在阴天拍摄以避免明亮的蓝天。他也避免水中反影，怕大自然因此显得怡神诱人。另一位摄影师拉斯洛·科瓦克斯（Laszlo Kovacs）说：“构图绝不可以为了美而美。”内容往往决定形式,形式应该体现内容。
"Many times, what you don't see is much more effective than what you do see," Gordon Willis has noted. Willis is arguably the most respected of all American cinematographers, a specialist in low-key lighting styles. He photographed all three of Francis Ford Coppola's Godfather films—which many traditionalists considered too dark. But Willis was aiming for poetry, not realism. Most of the interior scenes are very dark to suggest an atmosphere of evil and secrecy. A time-honored convention is to make sure an actor's eyes are always visible, but here too, Willis thought the mafia don (Marlon Brando) would seem more sinister if we couldn't see his eyes, at least while conducting "business" (1-22b).
摄影师戈登·威利斯（Gordon Willis ）曾说：“有时，你看不到的会比你看到的更有效。”他以低调性打光风格在美国电影界普遍得到尊敬。他拍摄了弗朗西斯·福特·科波拉（Francis Ford Coppola）的三部《教父》，都是传统保守分子以为太黑太暗的作品。但他追求的是诗而非现实主义。他大部分的内景光线都相当黑暗，暗示邪恶和悬疑的气氛。一个久享盛名的的惯例是确保一个演员的眼睛总是可见的,可是在这里,威利斯认为如果我们看不到黑手党(马龙·白兰度)的眼睛，他似乎更险恶的,至少在进行“业务”时（见图1-22b）。
Willis's preference for low levels of light has been enormously influential in the contemporary cinema. Unfortunately, many filmmakers today regard low-key lighting as intrinsically more "serious" and "artistic", whatever the subject matter. These needlssly dark movies are often impenetrably obscure when shown on the television screen in VCR or DVD formats. Conscientious filmmakers often supervise the transfer from film to video because each medium requires different lighting intensities. Generally, low-key images must be lightened for video and DVD.
威利斯的低调灯光对当代电影有莫大影响。不幸的是，许多当代导演不顾题材的需要，以为低调灯光本质上较“严肃”和“艺术性”。他们拍出一些根本不必要如此黑暗的电影，在电视上用录像带或光盘方式播放时，经常看起来暧昧难懂。较为在意的导演于是总亲自监督将电影转成录像带的过程，因为不同的媒介会有不同的灯光强力。通常，低调灯光的影像必须在转成录像带和光盘时提高亮度。
Some film directors are totally ignorant of the technology of the camera and leave such matters entirely to the cinematographer. Other filmmakers are very sophisticated in the art of the camera. For example, Sidney Lumet, who is best know for directing such realistic New York City dramas as 12 Angry Men, The Pawnbroker, Dog Day Afternoon, and Serpico, always makes what he calls a "lens shart" or a "lens plot." In Lumet's Prince of the City, for instance, the story centers on a Serpico-like undercover cop who is gathering information on police corruption. Lumet used no "normal" lenses in the movie, only extreme telephotos and wide-angle lenses, because he wanted to create an atmosphere of distrust and paranoia. He wanted the space to be distorted, untrustworthy. "The lens tells the story," Lumet explained, even though superficially the film's style is gritty and realistic.
有些导演对摄影机的技术层面置若罔闻，全数交由摄影师处理。也有些导演对于摄影机的艺术了解透彻。比如西德尼·鲁迈特（ Sidney Lumet）以描述真实的电影如《十二怒汉》（12 Angry Men）、《当铺老板》（The Pawnbroker）、《热天午后》（Dog Day Afternoon）和《冲突》（Serpico）著称，他总会做“镜头图表”和“镜头剧情”。他的《城市王子》（Prince of the City）有一位如《冲突》片中的卧底警察，专门搜集警察贪污的证据。在片中，他舍弃“正常”的镜头，只用大远望电子镜头和广角镜头，因为他要制造怀疑和狂乱的气氛，希望空间被扭曲、不可信任。他说：“镜头种类会说故事。”表面上，该片的风格却显得真实、不风格化。
There are some great movies that are photographed competently, but without distinction. Realist directors are especially likely to prefer an unobtrusive syle. Many of the works of Luis Buñuel, for example, can only be described as "professional" in their cinematography. Buñuel was rarely interested in formal beauty—except occasionally to mock it. Rollie Totheroh, who photographed most of Chaplin's works, merely set up his camera and let Chaplin the actor take over. Photographically speaking, there are few memorable shots in his films. What makes the images compelling is the genius of Chaplin's acting. This photographic austerity—some would consider it poverty—is especially apparent in those rare scenes when Chaplin is off camera.
有些摄影工作上的杰作，在银幕上却不易为人辨知。比如现实主义的导演就希望他们的作品在风格上不要太突兀。早期路易斯·布努埃尔（Luis Bunuel）的作品，在摄影上的表现只能用“职业水平”形容。布努埃尔不喜欢形式美——除非用来嘲弄。至于卓别林常用的摄影师罗里·托士若（Rollie Totheroh）只是架好机器，让卓别林尽情表演。换句话说，卓别林的电影让人记得的镜头，都是因为卓别林杰出的表演所致，只要卓别林出了镜，该镜头便乏善可陈。但有些电影的摄影特别突出。
But there are far more films in which the only interesting or artistic quality is the cinematography. For every great work like Fritz Lang's You Only Live Once, Leon Shamroy had to photograph four or five bombs of the ilk of Snow White and the Three Stooges. Lee Garmes photographed several of von Sternberg's visually opulent films, but he also was required to shoot My Friend Irma Goes West, a piece of garbage.
但是也有很多电影，它们唯一的趣味和美学价值就是摄影。李昂·夏若（Leon Shamroy）拍了佛利兹·朗（Fritz Lang）的《你只活一次》（You Only Live Once）这部大作，也拍了《白雪公主和三个小矮人》（Snow White and the Three Stooges）这部劣作。李·戛门（Lee Garmes）拍了许多冯·史登堡（von Sternberg）的华丽大作，但他也拍过像《我的朋友伊尔玛走向西方》（My Friend Irma Goes West）这样的垃圾。
In this chapter, we're been concerned with visual images largely as they relate to the art and technology of cinematography. But the camera must have materials to photograph—objects, people, settings. Through the manipulation of these materials, the director is able to convey a multitude of ideas and emotions spatially. This arrangement of objects in space is referred to as a director's mise en scène—the subject of the following chapter.
本章所谈均与视觉影像以及摄影的艺术、技术有关。但是摄影比得有素材、对象、场景。如何安排素材具体的内容——透过这些素材的运用，导演得以传达各种意念和情绪——有关特定空间中人、事、物等的配置，就是导演“场面调度”的工作，这是下一张的主旨。
电影摄影师
The cinema is a collaborative enterprise, the result of the combined efforts of many artists, technicians, and businesspeople. Because the contributions of these individuals vary from film to film, it's hard to determine who's responsible for what in a movie. Most sophisticated viewers agree that the director is generally the dominant artist in the best movies. The principal collaborators—actors, writers, cinematographers—perform according to the director's unifying sensibility. But directorial dominance is an act of faith. Many films are stamped by the personalities of others—a prestigious star, for example, or a skillful editor who manages to make sense out of a director's botched footage.
电影是集合不同艺术家、技师以及商人共同努力的合作事业。由于每部电影个人的贡献均不同，我们很难决定一部电影哪个人的功绩如何。较世故的观众明了导演是大部分好片子中最重要的人，因为他的搭档（如演员、编剧、摄影师）均遵从他的指示行事。但是有些电影，其他人的影响反而比导演重要——例如著名的明星，或某个技艺高超，能将导演的“毛片（footage）”剪出特色的剪辑师。
Cinematographers sometimes chuckle sardonically when a director's visual style is praised by critics. Some directors don't even bother looking through the viewfinder and leave such matters as composition, angles, and lenses up to the cinematographer. When directors ignore these important formal elements, they throw away some of their most expressive pictorial opportunities. They function more like stage directors, who are concerned with dramatic rather than visual values—that is, with the script and the acting rather than the photographic quality of the image itself.
有些评论不明就里地推崇导演的“视觉风格”，引起摄影师的讪笑。因为有些导演是看也不看观景器（view finder），而将构图、角度、镜头的细节选择一股脑儿交给摄影师。一般来说，导演最起码会咨询摄影师的意见。如果他完全忽视这些视觉因素，就是自己放弃视觉表达的机会。这样只会让它变成舞台式的导演，只重戏剧性（剧本、表演），而不关心影像本身。
On the other hand, a few cinematographers have been praised for their artistry when in fact the effectiveness of a film's images is largely due to the director's pictorial skills. Hitchcock provided individual frame drawings for most of the shots in his films, a technique called storyboarding. His cinematographers framed up according to Hitchcock's precise sketches. Hence, when Hitchcock claimed that he never looked through the viewfinder, he meant that he assumed his cinematographer had followed instructions.
有时候，摄影师的成就也会被过度褒扬，真正的功劳也许属于导演。比如希区柯克的电影，几乎每个镜头均有草图详细绘制（即分镜表 [storyboard] ）。他的摄影师根据希区柯克精细的草图设计镜头。所以当希区柯克声称他从来不看观景器，他的意思是说他认为他的摄影师已经遵照了他的指令。
Sweeping statements about the role of the cinematographer are impossible to make, for it varies widely from film to film and from director to director. In actual practice, virtually all cinematographers agree that the style of the photography should be geared as a glamour photographer at MGM and for many years was know as "Greta Garbo's cameraman." Yet Daniels also shot Erich von Stroheim's harshly realistic Greed, and the cinematographer won an Academy Award for his work in Jules Dassin's The Naked City, which is virtually a semidocumentary.
对摄影师角色的彻底陈述是不可能做到了，因为它会随着电影和导演的变化而变化。在实际实践中,几乎所有的摄影师都认为摄影的风格应该像有魅力的、在米高梅（MGM——多年来被称为“葛丽泰·嘉宝的摄影师”）工作的摄影师一样,像齿轮传送一样完美。然而,丹尼尔斯（Daniels）也拍摄了艾利·冯·史托洛海姆（ Erich von Stroheim）的极其现实的影片《贪婪》（Greed）,而且他还因在朱尔斯·达辛（Jules Dassin）的影片《不夜城》（The Naked City）（几乎是一部伪纪录片）中工作，获得奥斯卡最佳摄影。
During the big-studio era, most cinematographers believed that the aesthetic elements of a film should be maximized—beautiful pictures with beautiful people was the goals. Today such views are considered rigid and doctrinaire. Sometimes images are even coarsened if such a technique is considered appropriate to the dramatic materials. For example, Vilmos Zsigmond, who photographed Deliverance, didn't want the rugged forest setting to appear too pretty because beautiful visuals would contradict the Darwinian theme of the film. He wanted to capture what Tennyson described as "nature red in tooth and claw." Accordingly, Zsigmond shot on overcast days as much as possible to eliminate the bright blue skies. He also avoided reflections in the water because they tend to make nature looks cheerful and inviting. "You don't make beautiful compositions just for the sake of making compositions," cinematographer Laszlo Kovacs has insisted. Content always determines form; form should be the embodiment of content.
在大制片厂时代，大多数电影摄影师认为,电影的美学元素应该被最大化——美丽的图画和漂亮的人就是目标。今天这样的观点被认为是僵化和教条主义的。有时，如果一种技术被认为是适当的戏剧性材料，图像甚至会粗鄙不堪。例如，维尔莫斯·齐格蒙德（Vilmos Zsigmond）拍摄《激流四勇士》（ Deliverance）时,不愿让崎岖的森林显得太漂亮，因为漂亮的视觉效果将与达尔文优胜劣汰的电影主题不合。他想捕捉的是泰尼森（Tennyson）所形容的“魔爪獠牙的大自然”。因此，齐格蒙德尽可能在阴天拍摄以避免明亮的蓝天。他也避免水中反影，怕大自然因此显得怡神诱人。另一位摄影师拉斯洛·科瓦克斯（Laszlo Kovacs）说：“构图绝不可以为了美而美。”内容往往决定形式,形式应该体现内容。
"Many times, what you don't see is much more effective than what you do see," Gordon Willis has noted. Willis is arguably the most respected of all American cinematographers, a specialist in low-key lighting styles. He photographed all three of Francis Ford Coppola's Godfather films—which many traditionalists considered too dark. But Willis was aiming for poetry, not realism. Most of the interior scenes are very dark to suggest an atmosphere of evil and secrecy. A time-honored convention is to make sure an actor's eyes are always visible, but here too, Willis thought the mafia don (Marlon Brando) would seem more sinister if we couldn't see his eyes, at least while conducting "business" (1-22b).
摄影师戈登·威利斯（Gordon Willis ）曾说：“有时，你看不到的会比你看到的更有效。”他以低调性打光风格在美国电影界普遍得到尊敬。他拍摄了弗朗西斯·福特·科波拉（Francis Ford Coppola）的三部《教父》，都是传统保守分子以为太黑太暗的作品。但他追求的是诗而非现实主义。他大部分的内景光线都相当黑暗，暗示邪恶和悬疑的气氛。一个久享盛名的的惯例是确保一个演员的眼睛总是可见的,可是在这里,威利斯认为如果我们看不到黑手党(马龙·白兰度)的眼睛，他似乎更险恶的,至少在进行“业务”时（见图1-22b）。
Willis's preference for low levels of light has been enormously influential in the contemporary cinema. Unfortunately, many filmmakers today regard low-key lighting as intrinsically more "serious" and "artistic", whatever the subject matter. These needlssly dark movies are often impenetrably obscure when shown on the television screen in VCR or DVD formats. Conscientious filmmakers often supervise the transfer from film to video because each medium requires different lighting intensities. Generally, low-key images must be lightened for video and DVD.
威利斯的低调灯光对当代电影有莫大影响。不幸的是，许多当代导演不顾题材的需要，以为低调灯光本质上较“严肃”和“艺术性”。他们拍出一些根本不必要如此黑暗的电影，在电视上用录像带或光盘方式播放时，经常看起来暧昧难懂。较为在意的导演于是总亲自监督将电影转成录像带的过程，因为不同的媒介会有不同的灯光强力。通常，低调灯光的影像必须在转成录像带和光盘时提高亮度。
Some film directors are totally ignorant of the technology of the camera and leave such matters entirely to the cinematographer. Other filmmakers are very sophisticated in the art of the camera. For example, Sidney Lumet, who is best know for directing such realistic New York City dramas as 12 Angry Men, The Pawnbroker, Dog Day Afternoon, and Serpico, always makes what he calls a "lens shart" or a "lens plot." In Lumet's Prince of the City, for instance, the story centers on a Serpico-like undercover cop who is gathering information on police corruption. Lumet used no "normal" lenses in the movie, only extreme telephotos and wide-angle lenses, because he wanted to create an atmosphere of distrust and paranoia. He wanted the space to be distorted, untrustworthy. "The lens tells the story," Lumet explained, even though superficially the film's style is gritty and realistic.
有些导演对摄影机的技术层面置若罔闻，全数交由摄影师处理。也有些导演对于摄影机的艺术了解透彻。比如西德尼·鲁迈特（ Sidney Lumet）以描述真实的电影如《十二怒汉》（12 Angry Men）、《当铺老板》（The Pawnbroker）、《热天午后》（Dog Day Afternoon）和《冲突》（Serpico）著称，他总会做“镜头图表”和“镜头剧情”。他的《城市王子》（Prince of the City）有一位如《冲突》片中的卧底警察，专门搜集警察贪污的证据。在片中，他舍弃“正常”的镜头，只用大远望电子镜头和广角镜头，因为他要制造怀疑和狂乱的气氛，希望空间被扭曲、不可信任。他说：“镜头种类会说故事。”表面上，该片的风格却显得真实、不风格化。
There are some great movies that are photographed competently, but without distinction. Realist directors are especially likely to prefer an unobtrusive syle. Many of the works of Luis Buñuel, for example, can only be described as "professional" in their cinematography. Buñuel was rarely interested in formal beauty—except occasionally to mock it. Rollie Totheroh, who photographed most of Chaplin's works, merely set up his camera and let Chaplin the actor take over. Photographically speaking, there are few memorable shots in his films. What makes the images compelling is the genius of Chaplin's acting. This photographic austerity—some would consider it poverty—is especially apparent in those rare scenes when Chaplin is off camera.
有些摄影工作上的杰作，在银幕上却不易为人辨知。比如现实主义的导演就希望他们的作品在风格上不要太突兀。早期路易斯·布努埃尔（Luis Bunuel）的作品，在摄影上的表现只能用“职业水平”形容。布努埃尔不喜欢形式美——除非用来嘲弄。至于卓别林常用的摄影师罗里·托士若（Rollie Totheroh）只是架好机器，让卓别林尽情表演。换句话说，卓别林的电影让人记得的镜头，都是因为卓别林杰出的表演所致，只要卓别林出了镜，该镜头便乏善可陈。但有些电影的摄影特别突出。
But there are far more films in which the only interesting or artistic quality is the cinematography. For every great work like Fritz Lang's You Only Live Once, Leon Shamroy had to photograph four or five bombs of the ilk of Snow White and the Three Stooges. Lee Garmes photographed several of von Sternberg's visually opulent films, but he also was required to shoot My Friend Irma Goes West, a piece of garbage.
但是也有很多电影，它们唯一的趣味和美学价值就是摄影。李昂·夏若（Leon Shamroy）拍了佛利兹·朗（Fritz Lang）的《你只活一次》（You Only Live Once）这部大作，也拍了《白雪公主和三个小矮人》（Snow White and the Three Stooges）这部劣作。李·戛门（Lee Garmes）拍了许多冯·史登堡（von Sternberg）的华丽大作，但他也拍过像《我的朋友伊尔玛走向西方》（My Friend Irma Goes West）这样的垃圾。
In this chapter, we're been concerned with visual images largely as they relate to the art and technology of cinematography. But the camera must have materials to photograph—objects, people, settings. Through the manipulation of these materials, the director is able to convey a multitude of ideas and emotions spatially. This arrangement of objects in space is referred to as a director's mise en scène—the subject of the following chapter.
本章所谈均与视觉影像以及摄影的艺术、技术有关。但是摄影比得有素材、对象、场景。如何安排素材具体的内容——透过这些素材的运用，导演得以传达各种意念和情绪——有关特定空间中人、事、物等的配置，就是导演“场面调度”的工作，这是下一张的主旨。
