這篇文章是《視與聽》雜志上的
一篇強(qiáng)文，由“紅袖添飯”（微博ID：@紅袖添飯ing ）發(fā)現(xiàn)的，然后提示我和其他幾人可以考慮翻譯出來，其他幾位都是大神，比較忙，我翻譯文章上癮，所以現(xiàn)在把這篇文章搞出來，跟大家一起交流。
【正文：】
本文追溯從《賭城縱橫》（1996）到《血色將至》（2007）共五部影片攝影手法的變化歷程，討論保羅·托馬斯·安德森（Paul Thomas Anderson，下簡(jiǎn)稱PTA）是否已經(jīng)摒棄了那些華麗的東西。
在思考《大師》是如何區(qū)別于PTA早期作品時(shí)，我發(fā)現(xiàn)最顯著的不同是攝影機(jī)的運(yùn)動(dòng)和展現(xiàn)。我相信會(huì)有人分析后發(fā)現(xiàn)，這部影片在多達(dá)一半的時(shí)間里，幾乎都是特寫鏡頭，而很少有鏡頭的運(yùn)動(dòng)。
這跟他《不羈夜》和《木蘭花》那種充斥著眼花繚亂的斯坦尼康鏡頭的炮轟時(shí)期不同。但是通過觀察他電影生涯中的每一部電影，可以總結(jié)出PTA電影手法的演變。這篇文章審視了PTA之前5部作品中的一種標(biāo)志性的跟拍鏡頭，展示了（5個(gè)段落中的）每一處是怎樣體現(xiàn)他的攝影手法的，涵蓋了從他早期電影的花哨，到（后來）比較精細(xì)的“重構(gòu)圖，輕運(yùn)動(dòng)”的方法。
雖然《大師》里也有在百貨商店的一些旋渦式的跟拍，而且后來還有一些直線型側(cè)面跟拍，來展現(xiàn)那段摩托車狂飆的興奮感，但這部電影里更多的是入鏡頭和反打鏡頭的室內(nèi)戲?？雌饋鞵TA的攝像風(fēng)格跟斯科塞斯，奧特曼，甚至是庫布里克（PTA經(jīng)常被拿來跟這幾個(gè)人比較）的相同點(diǎn)，已經(jīng)不像跟喬納森·戴米的那么多了。其實(shí)，PTA在《不羈夜》的DVD評(píng)論音軌里，表達(dá)了自己深受戴米的風(fēng)格影響，不過戴米本人倒是無法從《不羈夜》中認(rèn)出一個(gè)PTA說是受他影響而拍攝的鏡頭。
一個(gè)電影不花心思在駕馭攝影機(jī)的運(yùn)動(dòng)上，而是更在乎電影在精神層面的觸及，這種取舍現(xiàn)在（在PTA的電影里）看來是很明顯的了。在PTA迄今為止的大多數(shù)心理層面的電影作品里，為了進(jìn)入人物內(nèi)心，他在很大程度上放棄了自己標(biāo)志性的攝影機(jī)運(yùn)動(dòng)。
（下面就是這篇文章的主體，這個(gè)視頻在PTA之前5部作品中，各選取了一個(gè)長(zhǎng)鏡頭，并從對(duì)斯坦尼康使用上加以解說，進(jìn)而探討PTA攝影風(fēng)格的演變）
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視頻：保羅托馬斯安德森作品中斯坦尼康鏡頭處理之演化】
【下面5段是上面這個(gè)視頻的對(duì)應(yīng)畫外解說詞（保留英文部分，便于對(duì)照視頻，其實(shí)也可以單獨(dú)看文字）】
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賭城縱橫 Hard Eight (1996)】
In his first feature, Anderson’s use of Steadicam already exploits the dramatic qualities of cinematography, juxtaposing Sydney’s dynamic movement against other gamblers seated like zombies at their slots and screens. The camera whips to a side-angle view of Sydney, tracking him laterally; in doing so it seems to pass through walls of ordinary gamblers. It then opens into a wider view of the floor, a panorama of light and sound, both realistic and expressive.
No other shots are as flashy as this one in Hard Eight, a fairly low-key drama led by a reserved, even inscrutable lead performance. But Anderson allows this one shot to give a glimpse into Sydney’s subjective experience, the thrill of walking the casino floor. It’s a precocious display of character development achieved purely through camera movement and staging. The camera revels in this sensory landscape and simultaneously transcends it, as Sydney advances to his rightful place at the head of the craps table.
在他的處女作里，PTA對(duì)斯坦尼康的使用，已經(jīng)利用了攝影的戲劇特性，把Sydney的運(yùn)動(dòng)與其他僵尸一樣坐在他們自己位子上的賭徒并列呈現(xiàn)。攝影機(jī)側(cè)拍Sydney，在旁邊跟著他走，我們看到他穿過了幾排普通的賭徒。接著是比較廣闊的視角，光與聲的全景，即真實(shí)又有表現(xiàn)力。
這是《賭城縱橫》里最浮華的拍攝段落，攝影機(jī)相當(dāng)?shù)驼{(diào)地被一個(gè)緘默甚至有些神秘的主體牽引著。但是PTA讓這個(gè)鏡頭稍微給觀者展示了一些Sydney的主觀體驗(yàn)——走在賭場(chǎng)里的興奮感。這是單純通過攝像機(jī)運(yùn)動(dòng)來實(shí)現(xiàn)的對(duì)人物性格的初步展示。攝像機(jī)縱情于展示感官上的畫面，同時(shí)當(dāng)Sydney來到他賭桌旁時(shí)（也即這個(gè)段落結(jié)束時(shí)），攝影機(jī)展示過的內(nèi)容，也已不再只是感官上的畫面了。
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不羈夜 Boogie Nights (1997)】
The celebrated opening shot of Boogie Nights hits you from the beginning with the bold appearance of the film’s title followed by a discombobulating tilt to the theatre marquee. It tells us we’re in Reseda, in the heart of Southern California’s porn country, but the floating sensation of this crane shot works less like a physical establishment of place, and more like an out-of-body experience.
Like the shot in Hard Eight, the camerawork owes a debt to Martin Scorsese’s GoodFellas and Casino, the way it explores a historical milieu by moving through it. But a key difference is that Scorsese’s camera asserts a documentary authenticity, primarily through an explanatory voiceover and a steady accrual of factual observations. Anderson discards those elements, plunging us directly into a state of sensory overload, washing us in a lurid palette of red and orange punctuated by neon.
這段著名的《不羈夜》開場(chǎng)段落，從一開始就能抓住你，鏡頭先是以大膽的方式顯示出電影名，緊接著是沒有規(guī)則地斜拍向電影院的招牌。它告訴觀眾，我們?cè)赗eseda，在南加州色情鄉(xiāng)村的核心地帶，但是升降鏡頭的漂浮感，讓你感覺那不像是一個(gè)機(jī)械在拍攝，更像是你在魂不附體地游蕩。
如《賭城縱橫》的段落一樣，這里的攝影風(fēng)格得益于馬丁?斯科塞斯的《好家伙》和《賭城風(fēng)云》，鏡頭為展示歷史環(huán)境而直接深入其中。但是一個(gè)關(guān)鍵的不同的是，斯科塞斯的攝像機(jī)追求的是紀(jì)錄片似的真實(shí)性，主要通過解釋性的畫外音，同時(shí)（通過攝影機(jī)觀察到的內(nèi)容）一點(diǎn)一點(diǎn)引入事實(shí)情況。PTA沒有這樣，他讓我們直接陷入一種感官超載的情形，讓我們淹沒在紅黃霓虹的浮華中。
This three-minute shot introduces us to eight characters, perhaps more than we can keep track of, but the feeling is always pleasurable, like being at a party where you don’t need to know everyone’s names to enjoy their company. Anderson’s camera is exultant, wanting to encompass everything and everyone at once, but if you look carefully, you’ll notice that at almost every point your vision is trained to focus on one particular character or area of activity, so that you’re never overwhelmed or confused. It also employs lighting cues like this spotlight to train our attention to a character’s arrival. For all its panoramic spectacle, this is still a linear viewing experience.
The shot ends with a double climax, a collision of speed versus stasis. A lateral sweep across the dance floor: a joyous expression of Rollergirl’s young body in motion, then slows to half speed to dote on young Eddie Adams, backlighting his youthful good looks like a discovery hidden in plain sight, waiting to burst upon the scene.
這個(gè)三分鐘的段落引入了8個(gè)角色，也許我們會(huì)應(yīng)接不暇，但是感覺上還是會(huì)不錯(cuò)的，就像你參加一個(gè)派對(duì)時(shí)，大家在一起，你不需要知道所有人的名字。PTA的攝像機(jī)太興奮，想同時(shí)顧及到所有在場(chǎng)的人和事，（你可能覺得自己會(huì)發(fā)懵）不過如果你仔細(xì)看，你會(huì)注意到幾乎你看到的每一個(gè)小段落，都會(huì)有一個(gè)攝影機(jī)在引導(dǎo)你去關(guān)注的人物或是活動(dòng)區(qū)域，這樣你就不會(huì)暈頭轉(zhuǎn)向了。而有時(shí)燈光也起著提示的作用，比如這里這個(gè)聚光燈提示我們注意到一個(gè)角色的到來。雖然有一些全景，它（總體）仍是一個(gè)線性的走位。
這個(gè)段落以雙重高潮結(jié)束，也即動(dòng)靜的對(duì)抗。鏡頭先是從舞池側(cè)面拍過去：一個(gè)滾軸女郎在興奮地扭動(dòng)她年輕的身體，然后畫面的速度減半，聚焦到年輕的Eddie Adams，逆光中，他那年輕又俊朗的臉龐，好似隱藏在顯而易見之處的驚喜，就等待著要從畫面中突現(xiàn)（在觀眾眼前）。
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木蘭花 Magnolia (1999)】
This single two-minute-five-second shot encapsulates the essence of Anderson’s three-hour magnum opus, connecting five different characters with the sheer velocity of forward motion through narrative space and time. Working with an unlimited budget and final cut, with this film Anderson enjoyed a creative freedom afforded to the rarest of directors.
But with that freedom came a great anxiety, one that pervades the film. It’s an anxiety to prove himself, to do something even bigger than Boggie Nights. And it informs the hurried pacing of this particular shot, as the camera moves faster than what we saw in his previous films. We no longer have the sense of coming into one’s own as in Sydney, or in celebrating and absorbing a subculture as in Boogie Nights. Here the shot amounts to a relay race between five characters organised in six different configurations. The point of focus is exchanged between them smoothly along a single line of movement.
Ostensibly, this shot wants to reveal the working guts of a Hollywood television studio, but it doesn’t settle long enough on anything in particular to let you take in the details, other than the anxious sensation of people working and moving. If there are any potential areas of interest on the periphery, they pass fleetingly. It’s a shot that wants to be everywhere at once, and nowhere in particular. The attraction is in the camera movement itself as a spectacle of kinetic exertion: movement for the sake of movement.
這個(gè)2分05秒的段落，壓縮了PTA這部時(shí)長(zhǎng)3小時(shí)的巨作的精華，它通過向前運(yùn)動(dòng)（的攝影機(jī)）穿過敘事的空間和時(shí)間，把5個(gè)不同的角色聯(lián)系起來。因?yàn)橛兄环忭數(shù)念A(yù)算和最終剪輯權(quán)，PTA在這部電影里體驗(yàn)到了一種難得的創(chuàng)作自由。
但是與此同時(shí)，自由慢慢變成了渴望，這種渴望彌漫在整個(gè)電影中。那是他想證明自己的一種渴望，他想做一些比《不羈夜》更棒的東西出來。而且這種渴望加快了這個(gè)段落的節(jié)奏，攝影機(jī)運(yùn)動(dòng)的速度比我們之前在他電影里見到的都快。我們?cè)僖搀w驗(yàn)不到那種進(jìn)入角色（比如Sydney），或是融入到那些亞文化群體的狂歡（比如《不羈夜》）中的感覺。這個(gè)段落里，相當(dāng)于是一場(chǎng)5個(gè)被安排在6個(gè)不同組合中的角色們的接力。隨著（攝影機(jī)的）單線運(yùn)動(dòng)，畫面焦點(diǎn)在他們之間平滑地轉(zhuǎn)換。
表面上，這個(gè)段落看起來是想展示好萊塢電視演播室的內(nèi)部，但是它不在任何地方多停留，不給你提供細(xì)節(jié)，它展現(xiàn)出來的更多是人們工作和移動(dòng)的焦慮感。在任何潛在的興趣點(diǎn)上，鏡頭都會(huì)快速的移開。這個(gè)段落，影片想同時(shí)觸及所有地方，但是不強(qiáng)調(diào)任何一處。吸引人的是攝影機(jī)那絕妙的運(yùn)動(dòng)本身：為了運(yùn)動(dòng)而運(yùn)動(dòng)。
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私戀失調(diào) Punch-Drunk Love (2002)】
With Punch Drunk Love, Anderson moves away from ensemble filmmaking in favour of a single character study, but ironically, the simpler premise allows his tracking shots to discover more complex applications. He does carry over one aspect of Magnolia: the sense of gnawing anxiety afflicting his protagonist. But he takes a radically different approach in portraying that anxiety cinematically. Instead of having his camera race frenetically, it tracks slowly in an ominous forward push, practically nudging Barry unwittingly through the gauntlet of his sisters as they heap casual abuse upon him.
Unlike the shots from the previous films, the protagonist is no longer held in the centre, but pushed to the sides of the frame. The slowness of the tracking movement allows us to follow not only him and also his sisters as they move around and against him. It also allows Anderson to utilise the space around the shot: notice how one sister calls from offscreen in one direction, as another sister creeps in from the other direction. This kind of lateral push-and-pull creates a counter movement to the tracking shot’s forward movement, a multidirectional tension that’s new to Anderson’s repertoire.
It’s even more prominent in this forward tracking shot. Here we really see Barry’s frustration of being pulled left and right throughout the film while all he wants is to go forward. It’s as if Anderson is using Barry as an on-screen surrogate to challenge and complicate his own forward moving impulses.
在《私戀失調(diào)》中，PTA不再追求群戲，而著力于單個(gè)角色的塑造。但是諷刺的是，這個(gè)更簡(jiǎn)單的前提，讓他的跟拍鏡頭有更多復(fù)雜的用途?！端綉偈д{(diào)》中，他有一點(diǎn)是得到保留的：讓他電影里主演抓狂的焦慮感。但是他采用了一個(gè)完全不同的電影手法，來描繪這種焦慮。這次他沒有讓攝影機(jī)快速移動(dòng)，而是是讓它帶著不詳?shù)馗杏X緩慢地跟隨著（Barry），當(dāng)Barry的姐姐們跟他說著爛七八糟的話的時(shí)候，攝影機(jī)其實(shí)是不緊不慢地跟著Barry穿過她們的。
不像PTA之前的電影那樣，這次的主人公不再處于畫面中間位置，而是被放到了畫面的邊緣。攝影機(jī)這種緩慢的移動(dòng)，讓我們可以不僅跟隨他一人，還可以看清他在周圍晃晃悠悠的姐姐們。而且也可以讓PTA來使用這個(gè)段落的空間：注意這里他的一個(gè)姐姐在從畫面外的一個(gè)方向跟他說話，與此同時(shí)另一個(gè)姐姐從另一個(gè)方向悄悄入畫。這種側(cè)面推拉創(chuàng)造了一種與向前運(yùn)動(dòng)的跟拍鏡頭相反的運(yùn)動(dòng)，一種多方向的戲劇張力，成為了PTA的新絕活。
在這個(gè)向前的推拉鏡頭中，這一點(diǎn)更加突出。在這個(gè)地方我們真正地看見Barry左右徘徊的挫敗境遇。這好像是PTA在用Barry作為一個(gè)銀幕上的代表，用來挑戰(zhàn)和復(fù)雜化他那向前運(yùn)動(dòng)的攝影習(xí)慣。
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血色將至 There Will Be Blood (2007)】
This two-and-a-half-minute shot is one of the longest in There Will Be Blood, yet it only moves several feet. But within those few feet it is able to create four distinct compositions, a profile closeup of Eli Sunday entering Daniel Plainview’s office, an obstructed wide shot of Plainview at his desk, a medium three-shot of Plainview, Sunday and Fletcher, and a final closeup of Sunday. Each of these shifts changes the dramatic tenor of the scene and the dynamic between its characters, exploring and expositing the space between them.
One way that it does so is by providing multiple steady points of visual focus for the viewer, as demonstrated in this scientific study by the Dynamic Images and Eye Movement project, that tracked the eye movements of several viewers to see what they were looking at in the frame. This steady multiplicity of focal points is something radically different from Anderson’s earlier films, where one dominant point of focus takes our eyes through the shot.
This camerawork may not look as flashy as those of his earlier films, but the dynamism and energy is there, compressed in slowness, steadily building dramatic tension, pushing towards release.
這個(gè)兩分半的段落是《血色將至》里最長(zhǎng)的段落之一，然而在這個(gè)段落里鏡頭只移動(dòng)了幾英尺的距離。但是就在這幾英尺里，PTA卻能創(chuàng)造出4個(gè)不同的景別：側(cè)面特寫要進(jìn)入Daniel Plainview辦公室的Eli Sunday，桌邊的Plainview的有阻塞的廣角鏡頭，Plainview, Sunday 和Fletcher的中景鏡頭，最后是Sunday特寫鏡頭。每個(gè)景別的轉(zhuǎn)變，都在改變著場(chǎng)景中主體以及角色間的動(dòng)態(tài)關(guān)系。這些轉(zhuǎn)變探測(cè)并且揭示著他們之間的關(guān)系。
實(shí)現(xiàn)這個(gè)目標(biāo)的方法之一，是通過給觀者提供多個(gè)視覺焦點(diǎn)，如這個(gè)“動(dòng)態(tài)圖像和眼運(yùn)動(dòng)”工程的科研演示所示。這項(xiàng)工程通過追蹤參與實(shí)驗(yàn)的那些觀者的眼球運(yùn)動(dòng)，來統(tǒng)計(jì)在每一幀畫面中，他們關(guān)注的焦點(diǎn)是哪里。這種穩(wěn)定的焦點(diǎn)的多重性，跟PTA早期作品是完全不同的，他早期作品里會(huì)有一個(gè)明顯的焦點(diǎn)抓住我們的眼球。
這個(gè)段落的攝影也許不像他早期電影那樣浮華，但是畫面的活力和能量就在那里，蘊(yùn)藏在緩慢移動(dòng)的鏡頭里，它平穩(wěn)地構(gòu)建起戲劇的沖突，進(jìn)而推動(dòng)著（這種沖突）走向釋放。
