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Listen to part of a lecture in a film history class.
听一段电影史课堂的讲座。
Okay, we 've been discussing films in the 1920s and 30s, and how back then film categories,
我们一直在讨论20世纪20年代和30年代的电影。
as we know them today, had not yet been established.
和我们今天熟知的电影分类那个时候没有形成
We said that by today's standards, many of the films of the 20s and 30s would be considered hybrids,
我们说过，以现在的标准，二、三十年代的很多电影算是“混血儿”，
that is, a mixture of styles that would not exactly fit into any of today's categories,
也就是说，各种风格的混合体并不符合当今电影的类别，也不符合时下的环境。
And in that context.Today we are going to talk about a film maker who began an very unique films in the late 1920s.
今天我们探讨一个在上个世纪20年代开创独具一格的电影的电影制作人。
He was French, and his name was Jean Painlevé. Jean Painlevé was born in 1902.
他是法国人，他叫JeanPainlevé，生于1902年。
He made his first film in 1928.
他在1928年拍了第一部电影。
Now in a way, Painlev's films conform to norms of the 20s and 30s, that is,
在一定程度上，Painlevé的电影符合了二、三十年代的标准，也就是说，
they do not fit very neatly into the categories we use to classify films today.
它们并不太符合我们现在用来给电影分类的标准。
That said, even by the standards of the 20s and 30s, Painlev's films were unique,
即便以上个世纪二、三十年代的标准来衡量，。
a hybrid of styles.
Painlevé的电影还是独具特色的各种风格的混合体
He had a special way of fusing, or some people might say confusing, science and fiction.
对现实和虚幻他有自己一套独特的融合方法，或许有人会说是“迷魂”法。
His films begin with facts, but then they become more and more fictional.
他的电影一般以真实情节作为铺垫，但之后它们变得越来越虚幻。
They gradually add more and more fictional elements.
他作品里的虚幻元素逐渐增多。
In fact, Painlev was known for saying that science is fiction.
事实上，Painlevé 因为说过“科就是幻”而闻名。
Painlev was a pioneer in underwater film making, and a lot of his short films focused on the aquatic animal world.
他是水下拍摄的先驱，此外他拍了很多关于水生动物世界题材的短片。
He liked to show small underwater creatures, displaying what seemed like familiar human characteristics-what we think of as unique to humans.
他喜欢向世人展示小型 的水下生物，展现与人类共享的特性——我们以为人类独有的。
He might take a clip of a mollusk going up and down in the water and set it to music.
他或许会拍一段软体动物在水里上下游荡并配以背景音乐。
You know, to make it look like the mollusk were dancing to the music like a human being-that sort of thing.
让其看起来像人类一样闻 歌起舞——诸如之类的事。
But then he suddenly changed the image or narration to remind us how different the animals are,how unlike humans.
之后，他会突然切换镜头或出现旁白来提示观众动物的不同之处，如何与人不同。
He confused his audience in the way he portrayed the animals he filmed, mixing up on notions of the categories of humans and animals.
他在电影里描述动物的方式常迷惑大众，混淆人类和动物的概念类别。
The films make us a little uncomfortable at times because we are uncertain about what we are seeing.
这些电影常常让我们感到有些别扭因为我们不确定自己正在观看的是什么。
It gives him films an uncanny feature: the familiar made unfamiliar, the normal made suspicious.
这给他的 电影带来神秘的色彩：让熟悉变得陌生，让正常变得可疑。
He liked twists, he liked the unusual.
他喜欢曲折，喜欢离奇。
In fact, one of his favorite sea animals was the seahorse because with seahorses, it's the male that carries the eggs,
实际上，他最喜欢的海洋动物之一是海马，因为雄性海马孵卵，
and he thought that was great.
他认为这是很不错的。
His first and most celebrated underwater film is about the seahorse.
他的第一部也 是最著名的一部水下电影就跟海马有关。
Susan, you have a question?
苏珊，你有什么问题吗？
But underwater film making was not that unusual, was it?
但水下电影也不是那么不同寻常，是吧？
I mean, were not there other people making movies underwater?
我意思是说，当时就没有其他人也在水下拍摄电影？
Well, actually, it was pretty rare at that time.
嗯，其实，这在当时来说确实少见。
I mean, we are talking about the early 1920s here.
我是说，我们在讨论上个世纪 20 年代初期的事。
But what about Jacques Cousteau?
那雅克·库斯托呢？
Was he like an innovator, you know, with underwater photography too?
就水下摄影来说，他像个改革者吗？
Ah, Jacques Cousteau.
呃，雅克·库斯托。
Well, Painlev and Cousteau did both film underwater, and they were both innovators, so you are right in that sense.
是的，Painlevé 和库斯托确实都拍摄水下电影，同时他俩都是改革者，在这个层面上你说得对。
But that's pretty much where the similarities end.
但他们的共同之处也仅限于此。
First of all, Painlev was about 20 years ahead of Cousteau.
首先，Painlevé 先于库斯托大概 20 年。
And Cousteau's adventures were high tech, with lots of fancy equipment, whereas Painlev kind of patched the equipment together as he needed it.
此外，库斯托的电影科技含量高，有很多昂贵的设备，然而 Painlevé 更像是在需要的时候把设备拼凑起来。
Cousteau usually filmed large animals, usually in the open sea, whereas Painlevgenerally filmed smaller animals, and he liked to film in shallow water.
库斯托通常拍摄大型的动物，通常在公海拍，然而 Painlevé 一般拍摄小一点动物，另外他喜欢在浅水拍摄。
Uh, what else, oh well, the main difference was that Cousteau simply investigated and presented the facts-he did not mix in fiction.
呃，看看还有什么，哦，主要的区别是库斯托只是 调查和展现事实——他没有将事实与虚幻的东西混合到一起。
He was a strict documentarist. He set the standard really for the nature documentary.
他是一位严谨的纪录片导演。
Painlev, on the other hand, as we said before, mixed in elements of fiction.
他为真正的自然纪录片建立了标准。
And his films are much more artistic, incorporating music as an important element.
另外，他的电影更具艺术色彩，合并的（背景）音乐作为一个重要因素。
John, you have a question?
约翰，你有问题吗？
Well, maybe I should not be asking this, but if Painlev's films are so special,
或许我不应该问这个，如果 Painlevé 的电影是那么的特别，
so good, why have not we ever heard of them?
那么的优秀，为什么我们从来没有听说过他的作品？
I mean, everyone's heard of Jacques Cousteau.
我是说，大家都听说过雅克·库斯托。
Well, that's a fair question.
嗯，这是一个值得探究的问题
Uh, the short answer is that Painlev's style just never caught on with the public.
呃，简单的回答是 Painlevé’s 的风格并不为大众所知。
I mean, it probably goes back at least in part to where we mentioned earlier, that people did not know what to make of his films-they were confused by them,
我是说，我们得回到我们先前提到过的一个问题：人们并不知道他的作品讲什么——他们对他的电影很是困惑，
whereas Cousteau's documentaries were very straightforward, met people's expectations more than Painlev's films did.
然而库斯托的纪录片很直白明了，相比 Painlevé 的电影他的作品 迎合了人们的期望。
But you are true: film history is about what we know about them.
但这一点你说得对：电影史是我们对电影作品的了解。
And Painlev is still highly respected in many circles.
此外，Painlevé 在很多领域都有很高的声望。
