寰宇快譯通 奧斯卡紀錄片發光 - 紀錄片

Forget fictional movies "The Aviator", " Million Dollar Baby" and "Sideways",
for many Oscar watchers 2004's best films are the documentaries.

忘了「神鬼玩家」、「登峰造擊」、「尋找新方向」這些劇情片吧，很多奧斯卡觀察家都
認為，2004年最好的電影其實是紀錄片。

Since Michael Moore's "Fahrenheit 9/11" took in $120 million at U.S. and
Canadian box offices last year, 2004 has been seen as the year in which
documentaries break the old rule that people won't go to the cinema to see
non-fiction films.

自從麥可摩爾的「華氏9/11」去年在美加票房狂掃1億2000萬美元（約台幣37億7520萬元
）後，2004年就被視為打破觀眾不進電影院看非劇情片的一年。

Moore pulled "Fahrenheit" from Oscar consideration for documentaries to aim
at best film but failed to be nom-inated.

「華氏9/11」自動退出奧斯卡的紀錄片角逐，希望能爭取「最佳影片」獎項，可惜沒有得
到提名。

In "Born into Brothels", first-time directors Zana Briski and Ross Kaufman
set out to tell of the plight of kids growing up in the red-light district of
Calcutta.They gave the children cameras and what emerges is a portrait of
their lives through their own pictures.

另一部紀錄片「生於妓院」中，首次執導的布莉絲琪和考夫曼描述在加爾各答紅燈區長大
的孩子們的悲情。他們把攝影機給這些孩子，讓他們以自己拍的影像描繪生活。

Director Lauren Lazin takes a more traditional approach to documentary making
in "Tupac:Resurrection" but she fascinates audiences using old TV interviews
of Tupac talking about himself so that, in effect, he is the mur-dered man
commenting on his own past life.

導演拉吉恩以較為傳統的手法拍攝紀錄片「Tupac絕響」，但她運用已故饒舌歌手吐派克
從前接受電視訪問、談論自己的畫面，讓謀殺案死者評論自己的一生，使觀眾看得著迷。


【2005-02-28/聯合晚報/2版/話題新聞】



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