经典电影镜头手法（电影的镜头运用）

在镜头的语法中，镜头角度常被用来表示影片所要呈现的各种情绪，而在所有镜头角度中，荷兰角绝对是最特殊也是最能表达电影格调的镜头角度。荷兰角镜头，又称斜角主观镜头，指的是摄影机倾斜或不与水平线平行的镜头。在电影史早期，荷兰角用来代表诡异的、不安的电影氛围，深受恐怖片大师和黑色电影导演的喜爱。时至今日，随着电影的发展，荷兰角镜头有了更为深刻丰富的含义。

Filmmakers use a lot of tricks to up the anxiety of a scene—music, sound mixing, lighting, color.

电影制作人使用很多手法来增添场景的紧张感－－音乐、混音、灯光、色彩。

And then there's this trick: an ever so slight tilt of the camera.

还有这个手法：极其细微的斜角镜头。

Even without all of the other stuff, the second you take the world off its axis, things start to feel a little…off, or at least a little more interesting.

即使没有用到其他技巧，只要你一用偏离轴心的角度看世界，事物就会开始感觉有点…奇怪，或至少有趣一点。

That camera tilt, which you'll see everywhere from blockbuster movies to perfume commercials—it's called a lot of things.

从票房大片到香水广告，这种随处可见的倾斜镜头有很多种称呼方式。

But most often, you'll see it referred to as the "Dutch angle".

但最常看到的名称叫做荷兰角镜头。

It's a stylistic choice whose roots are based not in film but in fine art.

这种风格并非源自电影，而是美术。

Let's get this out of the way.

我们先来澄清这点。

The Dutch angle isn't actually Dutch; it's "Deutsch," as in German for "German".

荷兰角镜头其实跟荷兰无关；这个字来自德语的Deutsch，意思是德国。

Its origins trace back to World War I when the German government banned the import of foreign films.

它的起源要追溯回第一次世界大战，当时德国政府禁止外国电影进口。

So, while over in Hollywood, the movie business was booming with Charlie Chaplin joints, racist Tarzan adaptations, and other straightforward happy-ending-type flicks, in Germany, movies were starting to look a little…different.

当好莱坞的电影产业在蓬勃发展，因为卓别林的进军、种族主义的泰山改编电影以及其他毫无悬念的快乐结局式电影，在德国，电影开始看起来有点…不一样。

Instead of turning to Hollywood for inspiration, German filmmakers turned to the arts.

德国电影制作人没有从好莱坞汲取灵感，而是将目光转向艺术。

And at that time, a movement called "Expressionism" had taken hold, primarily in Germany and Austria.

而当时表现主义蔚为风潮，主要流行于德国与奥地利。

Expressionism is famously hard to define, but you can think of it as roughly the opposite of impressionism.

表现主义出了名的难以定义，但你可以大致上把它想成跟印象派相反。

Impressionists, like Monet, Degas, and Renoir, painted things like this: floaty, lovely, soft scenes.

印象派画家，像是莫奈、德加和雷诺阿，画风象是这样：轻盈、明亮、柔和的画面。

And expressionists, like Kirchner, Beckmann, and Dix, painted things like this.

而表现派画家，像是克尔希纳、贝克曼和迪克斯，画风则是这样。

One more time, for emphasis.

再看一次，帮你加深印象。

While impressionists were interested in producing spontaneous but always refined versions of reality, expressionist painters were focused on depicting a subjective version of a world in turmoil, grappling with the horrors of war and the anxiety of modern life.

印象派崇尚产出自然但精炼过的现实，而表现派画家专注于用主观的方式描绘动荡的世界，设法处理对战争的恐惧与对现代社会的焦虑。

Figures are distorted and painted roughly, often tossed about at impossible angles.

人物呈现变形、粗糙的样貌，并经常以超乎现实的角度扭曲。

Colors are intense and unrealistic.

色彩既强烈又不合常理。

Scenes are eerie, even nightmarish.

场景相当诡谲，甚至如噩梦一般。

It's harsh and dark in both content and execution, all of which translated pretty well to film.

这种强烈又黑暗的内容与作画方式，全都很好地融汇到电影当中。

Starting in 1920, with The Cabinet of Dr. Caligari, a German silent horror movie about a hypnotist who uses his sleepwalking patients to kill by proxy.

从1920年的《卡里加里博士的小屋》开始，这是一部德国无声恐怖电影，讲述一个催眠师借梦游症患者之手杀人。

It's got the distorted figures, by way of outlandish makeup, harsh angular lighting, and, in place of the exaggerated perspective of painting, the whole movie is noticeably askew but not because of camera work.

片中的人物因古怪的妆容而显得扭曲，还有刺眼的斜角照明，而且整部电影用明显的歪斜取代夸大的绘画视角，但这不是透过运镜达到的效果。

The set is literally tilted, with sidewalks that lead nowhere, walls arranged seemingly at random, and buildings that look poised to collapse, all rendered in stark graphic lines by a trio of expressionist painters.

场景本身就是倾斜的，有永无止境的人行道、似乎随意排列的墙壁，以及看起来快要倒塌的建筑物，这些全都由三位表现派画家以鲜明的线条呈现。

When The Cabinet of Dr. Caligari came out, it was a revelation.

《卡里加里博士的小屋》上映后，让世人耳目一新。

Critics called it "startling," "weird," "sensational," "the most remarkable picture ever shown"!

评论家称之为令人震惊的、诡异的、绝妙的、有史以来最棒的电影！

They lauded its great acting and innovative story.

他们赞扬演员的好演技和创新的剧情。

There's a killer surprise twist at the end.

结尾的转折令人意想不到。

But, mostly, it was that set design that excited people.

但最让观众着迷的，还是场景的设计。

Those turns and tilts enhanced the movie's suspense and distortion.

那些蜿蜒的线条增强了电影的悬疑和扭曲感。

Caligari was hailed a prophecy, ushering in a new art-centric era for movies.

《卡里加里》被誉为预言，开创了以艺术为中心的新电影时代。

And though critics couldn't quite yet agree on which art movement it belonged to, that prophecy kind of came true.

虽然当时评论家无法将其归类到任一艺术派别，但这个预言的确应验了。

Expressionist classics, like Metropolis and Nosferatu, soon followed, using that same lighting, drama, and, of course, Dutch angles—this time, using the camera to tilt the scene instead of the set.

经典表现主义电影，像是《大都会》和《不死殭尸》很快跟进，使用同样的灯光与戏剧效果，当然也少不了荷兰角镜头－－但这次，是倾斜了相机，而非场景本身。

From there, the Dutch angle spread to noir films, featuring prominently in Citizen Kane and The Third Man.

从那时起，荷兰角镜头进到黑色电影里头，变成《国民凯恩》和《第三人》的一大特色。

Then it broke into thrillers, specifically Hitchcock's thrillers, like The Birds, Strangers on a Train, and the lesser-known The Lodger, which, the man himself said, was heavily influenced by expressionism.

接着渗透到恐怖片中，尤其是希希区柯克的恐怖片，象是《群鸟》、《火车怪客》和较为冷门的《房客》，而他本人也表示，该部电影受表现主义影响极深。

That picture showed a strong German influence.

那部电影深受德国的影响。

By the '60s, a very different genre picked it up.

到了60年代，一个截然不同的电影类型也开始使用该技法。

1966's Batman famously gave each villain their own specific tilt.

1966年版的《蝙蝠侠》因给予每个反派独特的倾斜角度而出名。

And from there, the angle really took off—action movies, musicals, comedies, even commercials.

从那时起，斜角镜头变得非常流行－－出现在动作片、音乐片、喜剧片，甚至广告当中。

Today, it's featured across basically every genre, to varying degrees of success.

时至今日，几乎所有类型的电影都看得到斜角镜头，成果有好有坏。

Movies like 2000's Battlefield Earth and 2011's Thor have been criticized for using the tilt as a crutch.

电影像是 2000 年的《地球战场》和 2011 年的《雷神》，就被批评太过仰赖斜角镜头。

But, filmmakers like Spike Lee, Terry Gilliam, and Tim Burton all really seem to get it: tilting a shot to highlight tension or distortion or underscore a film's dystopian confusion, keeping the spirit of expressionism alive.

但是像斯派克·李、特瑞·吉列姆和蒂姆·波顿等制片人，似乎就有掌握精随：用倾斜的视角凸显对峙和扭曲，或强调片中反乌托邦的混乱感，让表现主义的精神得以延续下来。