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Hi my name is Tony and this is Every Frame a Painting.
大家好，我是托尼，这里是电影艺术评价。
So this video was supposed to be done in time for Mother's Day but that didn't happen, sorry ma.
这个视频本来是要在母亲节发布的，但没来得及，所以妈妈，对不起。
Anyways today's film is Wolf Children directed by Mamoru Hosoda.
言归正传，今天要讲的电影是细田守执导的《狼之子雨与雪》。
This is a really lovely little film and it won the Japanese Academy Award for Best Animated Film two years ago.
这是一部非常可爱的小电影，在两年前获得了日本电影学院奖的最佳动画片奖。
If you haven't seen it, please do but for once, my video will provide no spoilers so you can enjoy this without having seen Wolf Children.
如果你还没有看过这部电影，请一定不要错过，我的视频不含剧透，所以没看过《狼之子雨与雪》也可以放心观看。
My subject today is a single shot from the film right here.
我今天的主题是这部电影中的这个镜头。
It's a lateral tracking shot lasting 57 seconds and it follows the two children, Ame and Yuki from first grade the fourth grade without any cuts.
这是一个持续57秒的横移镜头，展示了雨和雪两个孩子从一年级到四年级的校园生活，中间没有任何剪辑。
We see Ame as a loner in first grade while his sister Yuki adjusts to life in school.
我们看到雨在一年级独来独往，而他的妹妹雪很适应学校生活。
We see him bullied, we see her reaction, we see her find a place in the classroom while he starts to ditch class.
我们看到雨被欺负时雪的反应，看到雨开始逃课，而雪开始融入班级。
That's really it.
就是这样。
So why do I think this shot is actually kinda amazing?
那么为什么我觉得这个镜头非常棒呢？
This might sound like a weird thing to say but I've never really understood how to use the lateral tracking shot.
听起来可能有点怪，但我一直不知道如何利用横移镜头。
Like, I've seen other directors use it, sometimes beautifully, but I've never figured out how to pull it off myself.
我见过其他导演使用横移镜头，有时拍得很漂亮，但我一直没弄明白该如何正确拍摄这种镜头。
Because when you break it down, the lateral tracking shot is kinda weird.
因为把横移镜头分解之后，它看起来就有点奇怪了。
It's one of the least subjective shots in cinema.
这是电影中主观性最弱的镜头之一。
It's actually one of most objective.
实际上也是最客观的镜头之一。
It doesn't really suggest any character's POV, it just suggests you're an omniscient God and you're watching.
它不会传递任何角色的观点，并且暗示你是无所不知的上帝，正在注视这一切。
And it's very literal.
它是非常直白的。
What you see is what you get, so what do you use it for?
你看到什么就是什么，那么这种镜头有什么作用呢？
Most filmmakers use it as a quick establishing move.
大多数电影制作人都把它作为一个快速的定场镜头。
When you wanna start a scene and end in your master, it's a simple way to go.
如果你需要控制一场戏的开头或结尾，这是一个比较简单的办法。
-Hey man, if I were to shave off a nipple, would it be covered by workmen's comp?
-嘿，伙计，如果我刮掉一个乳头，能拿到工人恤养金吗？
Sadly in the last five years, this type of shot has just been beaten into the ground by DSLRs and sliders.
可悲的是，在过去五年里，这种类型的镜头被单反和滑块打败了。
Even good movies shot on DSLR have slider overkill going on.
即使是用单反拍摄的好电影，里面的滑块使用也过多。
So yeah, we can find a better way to use it.
所以，是的，我们可以找到更好的方式来使用横移镜头。
Well, what else is there?
那么，还有什么呢？
Another place you see the shot is in war movies.
横移镜头出现的另一种场景是战争电影。
When you wanna show the vastness of an army, or the world around some soldiers, the lateral tracking shot will do the trick.
如果你想展示一支军队的庞大，或者士兵周围的环境，横移镜头就能做到。
It's really the go-to shot for establishing a camp.
这是确立营地的最佳镜头。
-This whole goddamn war.
-这整个该死的战争。
-Like finding a needle in a stack of needles.
-就像在大海捞针。
It's also great for running whether that be people running towards destiny or towards the woman they love, even just running to run.
人们向自己的命运奔跑，向他们所爱的女人奔跑，甚至只是拍摄奔跑本身，横移镜头都很好用。
Hell, why not slow-motion?
还有，为什么不用慢动作呢？
Or Tom Cruise?
或者汤姆·克鲁斯？
And I don't know why but it also really popular for supermarkets, maybe because they're soulless and terrible like the Safeway near my house.
我不知道为什么，但似乎拍摄超市也常用横移镜头，可能是因为这些超市像我家门口的西夫韦超市一样，没有生气，十分吓人。
Godard seems to have done the definitive "I hate supermarkets" shot in cinema.
戈达尔就拍出过经典的“我恨超市”镜头。
And there's a bunch of other like one-off uses by certain filmmakers.
此外，一些电影制作人会不时利用横移镜头完成一些效果。
Peter Greenaway uses it to make the frame feel like a moving painting.
彼得·格林纳威用横移镜头让画面看起来像是一幅移动的画。
I've seen Park Chan-wook use it for an amazing fight scene.
朴赞郁用它拍摄过一个令人惊叹的打斗场面。
I've seen Buster Keaton use it for physical comedy.
巴斯特·基顿把它用在了肢体喜剧中。
I've seen Scorsese use it for a mass execution and I also really like this one-off gag from Toy Story.
斯科塞斯用它拍摄过大型处决现场，《玩具总动员》中的这个只用了一次的笑料我也很喜欢。
Some filmmakers make it a personal statement.
一些电影制作人将其作为个人风格。
Stanley Kubrick loved it because it showed things the way they were and not how we imagine them to be.
斯坦利·库布里克喜欢使用横移镜头，因为它能够展示事物本来的样子，让我们发现它并不是我们想象的那样。
He used it brilliantly in Paths of Glory to show just the extent of the war and the trenches.
他在《光荣之路》中巧妙地使用了横移镜头来展示战争和战壕的长度。
And in The Shining, it's everywhere, it's one of the ongoing ways that he builds a sense of dread.
而在《闪灵》中，横移镜头无处不在，这是库布里克在电影中不断建立恐惧感的方式之一。
The environment just feels oppressive when you look at it like this.
这样的镜头会让环境看上去很压抑。
