英语翻译When viewing Yukari’s movies it slowly becomes apparent
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英语翻译
When viewing Yukari’s movies it slowly becomes apparent that her screen characters inhabit a world of pain - emotional as well as physical,received as well as inflicted.When she fights,it is with grim,teeth-gritted determination - often to the death.She has none of the seemingly effortless exuberance displayed by some more popular action stars.Instead of stunt teams taking a fall,Yukari slugs it out against opponents who often pummel her.She sweats,bleeds,grimaces,yells,makes errors,and gets knocked down.Watching Etsuko Shiomi,and time spent at Sonny Chiba’s stunt school left visible traces in Yukari’s style,not the least of which is the Japanese cinematic emphasis on emotional viciousness.Hate stares,facial expressions and suicidal determination are staple elements of the Japanese genre,and in consequence Yukari may have registered as more distinctively Japanese - to Asian audiences - than we may realize.When she literally twists the knife (“Vengeance Is Mine,” 1997) or shoots someone point blank (“Never Say Regret,”1990,“The Story of the Gun,” 1992) her character crosses typical thresholds of inhibition about inflicting penetrating injuries.Similarly,her use of neck-breaking moves (“The Story of the Gun,“ 1992,“Hard To Kill,” 1992) or the garrote (“Beauty Investigator,” 1992) involves an intensely intimate lethality.We shudder,fascinated.
When viewing Yukari’s movies it slowly becomes apparent that her screen characters inhabit a world of pain - emotional as well as physical,received as well as inflicted.When she fights,it is with grim,teeth-gritted determination - often to the death.She has none of the seemingly effortless exuberance displayed by some more popular action stars.Instead of stunt teams taking a fall,Yukari slugs it out against opponents who often pummel her.She sweats,bleeds,grimaces,yells,makes errors,and gets knocked down.Watching Etsuko Shiomi,and time spent at Sonny Chiba’s stunt school left visible traces in Yukari’s style,not the least of which is the Japanese cinematic emphasis on emotional viciousness.Hate stares,facial expressions and suicidal determination are staple elements of the Japanese genre,and in consequence Yukari may have registered as more distinctively Japanese - to Asian audiences - than we may realize.When she literally twists the knife (“Vengeance Is Mine,” 1997) or shoots someone point blank (“Never Say Regret,”1990,“The Story of the Gun,” 1992) her character crosses typical thresholds of inhibition about inflicting penetrating injuries.Similarly,her use of neck-breaking moves (“The Story of the Gun,“ 1992,“Hard To Kill,” 1992) or the garrote (“Beauty Investigator,” 1992) involves an intensely intimate lethality.We shudder,fascinated.
观看由香里的电影,渐渐的你会发现,荧幕上她所扮演的角色均生活在苦痛之中.这些痛苦贯彻身心,她自己承受痛苦,并将之施加给他人.打斗时,她咬紧牙关,不屈不挠,甚至抱着必死的决心.和其他许多著名动作明星不同,由香里感情从不过分外露.她在剧中对来犯之敌迎头重击,避免了特效小组无法模拟场面的尴尬.她大汗淋漓,浑身鲜血,面露痛苦,大声呼喊,最后出了差错而被打倒.观摩志穂美 悦子表演,以及在千叶真一的特技学校里度过时光的经历影响了由香里,在她的风格中均可窥见两者的影子,更不用说日本电影的重点-多情的邪恶了.厌恶被注视,面部表情和自杀的决心是日本人的基本特性,因此亚洲观众可能比我们更能理解由香里所代表的日本人特性.当她拿着锋利的刀子(我要复仇 1997),或拿枪直射别人时(永不言悔 1990,枪之风云 1992),她已超越了传统角色的框架,突破了只给人带来痛彻心扉伤害的形象.同样,由香里令人胆寒的身影(枪之风云 1992,杀不死的勇者 1992)或恐怖的绞刑(美丽密探 1992)饱含着令人窒息、零距离接触的致命诱惑.我们对此战战栗栗,却又着迷.
本人水平有限,这已是我耗时许久,尽力而为的结果,希望楼主满意.
本人水平有限,这已是我耗时许久,尽力而为的结果,希望楼主满意.
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