NARRATOR:Listen to part of a lecture in a film history class.
MALE PROFESSOR:Okay, we've been discussing films in the 1920s and 30s, and how back then film categories, as we know them today, had not yet been established.We said that by today's standards, many of the films of the 20s and 30s would be considered hybrids, that is, a mixture of styles that wouldn't exactly fit into any of today's categories.And in that context, today we are going to talk about a film-maker who began making very unique films in the late 1920s.He was French, and his name was Jean Painlevé.
Jean Painlevé was born in 1902[nineteen oh two]. He made his first film in 1928.Now in a way, Painlevé's films conform to norms of the 20s and 30s, that is, they don't fit very neatly into the categories we use to classify films today.That said, even by the standards of the 20s and 30s, Painlevé's films were a unique, hybrid of styles.He had a special way of fusing, or some people might say, confusing, science and fiction.His films begin with facts, but then they become more and more fictional. They gradually add more and more fictional elements.In fact, Painlevé was known for saying that science is fiction.
Painlevé was a pioneer in underwater film-making, and a lot of his short films focused on the aquatic animal world.He liked to show small underwater creatures, displaying what seemed like familiar human characteristics - what we think of as unique to humans.He might take a clip of a mollusk going up and down in the water and set it to music.You know, to make it look as if the mollusk were dancing to the music like a human being - that sort of thing.But then he suddenly changed the image or narration to remind us how different the animals are, how unlike humans.He confused his audience in the way he portrayed the animals he filmed, mixing up our notions of the categories, human and animal.The films make us a little uncomfortable at times because we are uncertain about what we are seeing.It gives his films an uncanny feature: the familiar made unfamiliar, the normal made suspicious.He liked twists, he liked the unusual.In fact, one of his favorite sea animals was the sea-horse because with sea-horses, it's the male that carries the eggs, and he thought that was great.His first and most celebrated underwater film is about the sea-horse.
[seeing hand raised]Susan, you have a question?
FEMALE STUDENT:But underwater film-making wasn't that unusual, was it? I mean, weren't there other people making movies underwater?
MALE PROFESSOR:Well, actually, it was pretty rare at that time. I mean, we are talking the early 1930s here.
FEMALE STUDENT:But what about Jacques Cousteau? Wasn't he like an innovator, you know, with underwater photography too?
MALE PROFESSOR:[He now understands what she is thinking] Ah, Jacques Cousteau.Well, Painlevé and Cousteau did both film underwater, and they were both innovators, so you are right in that sense.But that's pretty much where the similarities end.First of all, Painlevé was about 20 years ahead of Cousteau.And Cousteau's adventures were high-tech, with lots of fancy equipment, whereas Painlevé kind of patched equipment together as he needed it.Cousteau usually filmed large animals, usually in the open sea, whereas Painlevé generally filmed smaller animals, and he liked to film in shallow water.Uh, what else? Oh well, the main difference was that Cousteau simply investigated and presented the facts - he didn't mix in fiction.He was a strict documentarist. He set the standard really for the nature documentary.Painlevé, on the other hand, as we said before, mixed in elements of fiction. And his films are much more artistic, incorporating music as an important element.John, you have a question?
MALE STUDENT:[very carefully, fearing that he might offend the professor]Well, maybe I shouldn't be asking this, but if Painlevé's films are so special, so good, why haven't we ever heard of them?I mean, everyone's heard of Jacques Cousteau...
MALE PROFESSOR:Well, that's a fair question. Uh, the short answer is that Painlevé's style just never caught on with the general public.I mean, it probably goes back at least in part to what we mentioned earlier, that people didn't know what to make of his films - they were confused by them, whereas Cousteau's documentaries were very straightforward, met people's expectations more than Painlevé's films did.But your true, film history buffs know about him.And Painlevé is still highly respected in many circles.
教授：我们一直在讨论20 世纪20 年代和30 年代的电影和我们今天熟知的电影分类那个时候没有形成。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”，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。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。他是法国人，他叫Jean Painlevé
Jean Painlevé生于1902 年。他在1928 年拍了第一部电影。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，它们并不太符合我们现在用来给电影分类的标准。即便以上个世纪二、三十年代的标准来衡量，Painlevé的电影还是独具特色的各种风格的混合体。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。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。他作品里的虚幻元素逐渐增多。事实上，Painlevé因为说过“科就是幻”而闻名。
And in that context, today we’re going to talk about a, a filmmaker who began making very unique films in the late 1920s. He was French, and his name
was Jean Painlevé.