洗脑影像：性、镜头和权力（2022）

at this person over here,
而这个人恰好是个女人
who happens to be a woman.
我在哪见过你吗？
Haven’t I seen you somewhere before?
这种主观镜头可以是单个镜头 比如这样：
This POV shot can be done in one shot, like this.
它在下垂 我们要调整一下这部分
It’s dropping down. We need to get that adjusted.
荒唐
It’s ridiculous.
我该直接丢了我的刷子 直接…该死 噢！
I should just drop my brushes, and just, fuck it. Oh!
太美了 你怎么想 伙计？
It’s amazing what do you think about that, man?
太美了 杰瑞！杰瑞！
Pretty amazing. Jerry! Jerry!
也可以拆成两个镜头
Or in two separate shots.
嘿！
Hey!
我经常思考如何制♥造♥观点
I think a lot about how to create points of view.
那不仅是视觉上的考虑 也是感知层面的
It’s not just optical, it’s perceptual,
毕竟我们是在感受…
you know, we are experiencing the…
你是在把观众代入角色
You’re putting the audience in the character’s shoes
好让观众不仅是直接看到…
so that they aren’t just seeing directly
角色看到的东西
what the character sees,
而且在情绪上也与角色共鸣…
but they are aligned with them emotionally
思角色所想
and in their thought process.
关于罗伯特·蒙哥马利的《湖上艳尸》…
What’s interesting about Robert Montgomery’s,
有趣的地方在于 它是主体性的一个极端例子
“Lady In The Lake” is that it’s an extreme example of what subjectivity is.
一个大的主观镜头
So it becomes this point of view shot
贯穿整部影片
throughout the whole film.
它和我理解的男性视角及男性凝视…
It aligns with my ideas about a male point of view
…不谋而合
and what is the male gaze.
它也有着那种好莱坞式美人或好莱坞式受害者的…
And about sort of the image of a certain kind
典型人物形象
of Hollywood beauty or Hollywood victim.
说到镜头的构图
[Nina] Framing of shots.
女演员总被镜头分割成躯体部位
Women actors are often shot with fragmented body parts.
而分割的躯体也会是主观镜头情景的一部分
And that fragmented body can be part of, of course, a POV situation.
这样就得到了：前个镜头是有人在看
So you have one shot somebody is looking,
后一个镜头就是分割的躯体
second shot, fragmented body.
那是什么声音？
What is that noise?
什么声音？
What noise?
什么声音都没有
There wasn’t any noise.
这也可以是单个镜头
Or it can be in one shot.
不断重复这种主观结构
And again, repeating the POV structures.
另一常见情况是女性躯体…
Another thing that’s very common is a female body
在没有特定人物观看时对观众作直接展示
on direct display for the audience without a specific person looking.
直接对整体观众展示
This is just like general audience display.
我想我们得思考下这一点：
I think we have to consider
正是经由这种正式的视觉语言…
that it is through the formal visual language
我们有效地沟通传达着意义
that we are effectively communicating meaning.
而我们潜意识接受了太多来自这种语言的信息
And we inherit so much subliminally that comes from this language
而这与镜头构图的方式…
and it has to do with how shots are composed and framed,
以及与它们在段落中是如何拼接和排序的有关
how they’re assembled and ordered in a sequence of shots.
以上所有都成为了（电影语言的）语法和句法
All of that becomes the grammar and syntax
意义则由此被传递给观看者
by which meaning is conveyed to a viewer.
所以在某种视觉文化 比如我们的视觉文化中
So in a visual culture, such as ours,
其对作为客体的女性
in which there’s a ravenous appetite
有着极其巨大贪婪的需要
towards the female as object,
如果摄影机是掠夺性的
if the camera is predatory
文化也势必是掠夺性的
then the culture is predatory as well.
再来谈谈运镜
[Nina] Camera movement.
一种我们司空见惯的拍法
A common thing that we’ve all seen a million times
就是镜头平移拍过一具女性躯体
is a pan of a female body.
那当然可以是水平平移
And that can, of course, be a horizontal pan
或垂直平移
or a vertical pan.
此外 还有一种常见拍法是慢动作
Furthermore, what you very often see is slow mo,
作为一种突出强调
as a way to emphasize.
如果拍男人 什么时候会用慢动作镜头呢？
And with men, when do you get slow-mo?
动作戏 军旅戏 是吧？
Action military, right?
朝膈膜狠踢一脚
Huge kick to diaphragm
所以慢镜拍男人强调动作戏
So men get slow mo for action,
慢镜拍女人则是为了性化
and women get slow mo for sexualization.
这类镜头的广泛传播
The dissemination of these kinds of shots
实际上是一种集体催眠
is actually a sort of global hypnosis
宣扬男权如何带来满足感
around how masculine power brings satisfaction.
无论是在客体化女人
Whether it’s objectifying women
还是在杀戮或假装杀戮
or killing or pretending to kill.
这就是男权的鼓吹宣传
This is propaganda for patriarchy.
然后是布光 布光的影响相对更隐晦微妙
[Nina] Lighting. Lighting is a bit more subtle.
通常 男主演会得到立体布光
Normally a male lead actor gets to have 3D lighting
有阴影和深度
with shadow and depth,
他的角色被光线置于一个真实的…
and he’s located somewhere real
我们能够理解的空间
in a space that we understand,
但这里的丽塔·海华丝
whereas Rita Hayworth here,
这是出自奥逊·威尔斯《上海小姐》的两个画面
this is two frames from Orson Well’s “Lady from Shanghai”,
丽塔·海华丝被拍成一种永恒的…
Rita Hayworth is shot in this timeless zone
女性美的化身
of female beauty.
女人不能衰老
Women are not allowed to age
也不能真正作为主体拥有一种…
and they’re not really allowed to have full-on
完整的人生
lives as subjects.
我和其他导演
Myself and other directors,
我们都被要求用最佳布光效果来呈现…
we have been conditioned to present women, actresses,
女人 女演员
in the best light possible.
于是我们用漂亮的柔和灯光
So we put nice soft lights up
用漂亮的长焦镜头 然后…
and use nice long lens and, you know,
采用高角度 而非仰拍
set it at a high angle, not looking up at something.
总之就是各种拍摄女人的不同方式
And, you know, all the different ways to film women.
我并不担心男人有皱纹
I don’t worry if a guy has wrinkles,
因为那只会让他们
随着年纪增长看起来更英俊粗犷
because that just makes them look rugged as they gets older,
但对女人你就不愿这么想
but you don’t wanna think about that for women.
我能吻你吗？
Can I kiss you?
最近我接到了一部很棒的电影
You know, I got this great movie recently,
它本会我的职业身涯带来积极变化
it would’ve moved the needle,
是对我而言非常宝贵的一个机会
it was very great for me,
但他们决定找更年轻的演员
and they decided to go younger.
你能说什么呢？
And, what can you say?
那种事经常发生 经常发生
So, that happens a lot, that happens a lot.
我非常非常难过
I have a lot of sadness,
甚至只是聊起这个…
and just even talking about it,
我就已经很…噢
I have a lot of, oh.
因为我很热爱工作
‘Cause I love to work.
我认为这种视觉语言 真的让女性…
I think this visual language really contributes
痛恨自身且产生不安全感
to female self hatred and insecurity in a way
这种影响不容小觑
that is not insignificant.
被视为常规的“美”其实是明确且…
What is normalized as beauty is really seen specifically
显著地从男性凝视出发的
and dominantly through a male gaze.
我认为那改变了我们在整体上
I think that really changes how
与这个世界关联的方式
we relate in the world in general
而这种方式可能并不理想
and not necessarily in the best way.
镜头语言是种元信息 对吧？
Shot design is the meta message, right?
这种审美被视为常规
It’s the aesthetic that is normalized,
且在暗中施加影响
and it’s very sneaky kind of in that way.
神父 接纳我
Priest, let me in.
在这部小戈登·帕克斯执导的CULT经典《超飞》中
[Nina] Here in “Super Fly” the cult classic by Gordon Parks Jr. ,
我们可以看到我们目前已谈及的
we can see a number of the techniques
一系列拍摄手法
that we’ve been discussing so far.
片中 男性角色处于主体♥位♥置
We have the man in the subject position.
尽管两人头部的拍摄方式差不多
Although, the two heads are photographed quite the same,
但突然出现了配乐
suddenly we get the music,
柔化的模糊布光
fuzzy lighting,
慢动作
slow-mo,
针对躯体的镜头平移
body pan.
看到这个片段时 我的一位学生
One of my students when she saw this clip,
说：“当你看到这两颗脑袋出现在…”
she said, “The minute you see the two heads
“浴缸里的时刻 你就开始等着后面出现…”
in the bathtub, you start waiting for the pan
“女人躯体的平移镜头了”
of the woman’s body. ”
显然两人都裸身在浴缸中
Obviously they’re both naked in the tub.