第一篇：影视英语教学大纲
《英语影视赏析》课程教学大纲
(2003年制订，2006年修订)
课程编号：100190
英 文 名：English Movie Appreciation 课程类别：专业选修课 前 置 课：基础英语 后 置 课：无 学
分：2学分 课
时：34课时 主讲教师：李丽萍 褚玉襄
选定教材：Andrew Lynn，英语电影赏析，北京：外语教学与研究出版社，2005年。 课程概述：
本课程针对英语专业高年级学生开设。主要目的是为了顺应我国当前政治经济形势发展的需要，满足大学生迫切需要通过电视、电影等媒体来直接了解世界各国的政治、经济、文化和社会发展动态的需要。通过涵养学生的影视艺术感觉，提高学生英语水平和影视艺术鉴赏的审美品位。
学习语言的过程很大程度上是文化习得的过程。 语言只有放置于一定的文化背景和语言环境的情况下才有其意义，学生才能够将语言认知能力转化为语言运用能力，达到学习语言的能力。
教学目的：
通过对影视英语的分析与欣赏，让学生能够身入其境地了解影视中各种人物的对话，了解各国的风土人情、特有的文化背景、历史与现状、科学技术的发展、地理地貌等特点。 本课程借助现代媒体手段，充分利用各种可能的途径，获得各种特点的素材和资料，在课堂上和学生一起分析其中所用语言和其使用的环境， 尤其是英文经典和热门电影的赏析和解读帮助学生领略电影大师们特色各异的创作韵趣，进一步认识电影思维、电影语言的独特规律，并从欧美和中国不同民族和地域的社会文化背景深入了解作品的文化学内蕴，通过教师分段的各种提问与讲解，使学生能对影片的内容有个透彻的了解，从而能逐渐培养起他们独立欣赏原版片的习惯与能力。 学生通过本课程的学习，可以提高自身通过听觉获取信息的能力，可以较为顺利地听懂有一定难度的英语电影、电视片段等，了解英语国家的人文特点，提高英语文化素养，能够在日常生活中灵活运用所学知识进行交流。
1 教学方法：
观看经典英语电影或片段、名人传记纪录片等内容,难度相当于四六级或以上水平。 重要的知识点为资料中所涉及的英语文化知识，对其中出现的重点句子及其结构加以强化、操练，使学生可以将所听到所看到的知识运用到自己的学习和生活中，达到提高运用英语能力的目标。
各章教学要求及教学要点
Chapter 1 History and Genre
课时分配：2课时 教学要求:
Introduce the history of early cinema, classical Hollywood cinema, and post-classical Hollywood cinema with regard to technological, industrial, and artistic developments.
Introduce the concept of genre and, in particular, the categorization of genres and the functions of genre. 教学内容：
Early Cinema, Classical Hollywood Cinema, Categorization of Genres 思考题：
1. What are the advantages and disadvantages of approaching films through the concept of genre? 2. Do you think genres are historically and culturally specific?
Chapter 2 Character and Performance
课时分配：2课时 教学要求: Explain characterization in film from the perspectives of character functions and cast design, character archetypes, and motivation, conflict, and character growth. Explain performance in film by considering the specific qualities of cinematic performance(as opposed to its theatrical equivalent), the concept of the actor’s two bodies, the movement in acting known as Method acting and the phenomenon of the “star”. 教学内容：
Character Functions and Cast Design , Cinematic Performance 思考题：
1. What makes a film character interesting to you? 2. What factors do you think should be taken into account when casting decisions are made?
Chapter 3 Narrative
课时分配：2课时
2 教学要求: Define the basic terms used to analyze narratives---narrative, story, and plot. List and briefly describe the limited number of basic stories that form the basis for most narratives. 教学内容：
The Basic Terms (Narrative, Story, and Plot) and the Basic Stories ,Subplots . 思考题：
1. What are the main differences between Hollywood narratives and those of Chinese films? 2. Do you think that narrative in Hollywood is too formulaic to produce great art?
Chapter 4 Style
课时分配：2课时 教学要求:
Introduce methods for analyzing the cinematic shot using concepts such as composition and photographic techniques, mise-en- scene, setting, framing, sound and lighting, costume and props, and symbols and motifs. Introduce methods for analyzing the editing process using concepts such as continuity editing, safe and unsafe space, and dialectical montage. 教学内容：
The Shot: Composition and Photographic Techniques ,Symbols and Motifs . 思考题：
1. What different kinds of effects can be produced by the manipulation of stylistic characteristics? 2. Do you think a film’s style really matters? Or is content more important?
Chapter 5 Critical Perspectives
课时分配：2课时 教学要求: Give a definition of theme and outline some typical thematic concerns. Introduce some of the main theoretical approaches to the study of film—auteur theory, structuralism, feminism and gender studies, psychoanalysis and the spectator, and polictics and ideology. 教学内容：
Defining Theme & Typical Thematic Concerns , Structuralism . 思考题：
1. How can a knowledge of theory contribute to our understanding of cinema? 2. Can these Western theories be applied to Chinese cinema?
Chapter 6 Blockbuster Film
课时分配：2课时 教学要求: Exemplify the blockbuster, and in particular to show how the essence of the blockbuster lies in its use of spectacle and generic mixing. Show how the four-function model of cast design can help one to better undersand characterization in popular Hollywood films. 教学内容：
The Blockbuster and Synopsis , The Matrix . 思考题：
The basic question posed by the The Matrix is this: Should one, like Nero, accept an unpleasant reality, or, like Cypher, choose a life that is perfect but unreal”? What do you think?
Chapter 7 Comedy Film
课时分配：2课时 教学要求: Exemplify comedy as a genre, and in particular to consider what it is that gives rise to humour. Show how engagement with characters occurs through a tripartite process of recognition, alignment, and allegiance. 教学内容：
Comedy and synopsis , “Gumpism” as a Philosophy . 思考题：
1. Do you think it is acceptable for Hollywood to rewrite history? 2. Why do you think Forrest Gump is popular in China?
Chapter 8 Social Drama Film
课时分配：2课时 教学要求:
Exemplify the social drama as a genre. Apply the ideas of the protagonist and forces of antagonism to the film. 教学内容：
Social Drama and Synopsis , A concept of Beauty . 思考题：
1. Does the idea of a “Crisis in Masculinity” have any significance in China?
4 2. How do Chinese films deal with the problem of the “mid-life crisis”?
Chapter 9 Action Film
课时分配：2课时 教学要求:
Exemplify the action genre, and in particular to show how the action film is characterized by action set-pieces, new technology and the “quip”. Introduce the Bond character and discuss the importance of casting in the Bond series. 教学内容：
Action and Synopsis, England and its Decline . 思考题：
1. Do you think it’s true that Bond films totally lack “an ethical frame of reference”? 2. Why do you think Bond films are so popular?
Chapter 10 Film Noir/Neo-Noir
课时分配：2课时 教学要求:
Analyze characterization in the light of the cop/buddy model and the antagonist as representative of broader socio-cultural forces.
Show how the film deliberately frustrates narratives expectations. 教学内容：
Film Noir/ Neo-Noir and Synopsis , Sin in the Modern World. 思考题：
1. Consider how the following comments about real-life serial killers help us to better understand Se7en. 2. Would it be true to say that Se7en is an unremittingly grim film?
Chapter 11 Romance Film
课时分配：2课时 教学要求:
Exemplify romance as a genre and to show how it rests on conventions such as that of the unlikely couple and the conflict of social and romantic perspectives.
Consider how the concepts of main plot/subplot, narrative circularity and narrative depth can help us to better understand the narrative of the film.
5 教学内容：
Romance and Synopsis , The Elements of Passionate Love . 思考题：
1. Do you approve or disapprove of Almasy and Katherine’s behaviour? 2. How do Almasy and Katherine compare to the romantic leads in Chinese films?
Chapter 12 Gangster Film
课时分配：2课时 教学要求:
Consider how the film reworks the typical gangster character and how it provides a good example of method acting.
Analyze the gangster film as tragic narrative. 教学内容：
Gangster Films and Synopsis ,The Mafia . 思考题：
1. Do you sympathize with Michael?
2. Why do you think The Godfather was such a popular film?
Chapter 13 War Film
课时分配：2课时 教学要求: Analyze the film as a kind of mythological narrative and consider the implications of having two distinct versions of the film.
Consider the role played by lighting and color in the film. 教学内容：
War Film and Synopsis , The Problems with American Culture . 思考题：
1. Apocalypse Now offers an explanation for the American failure in Vietnam. What do you think it is.? 2. Do you sympathize with Kurtz?
Chapter 14 Horror Film
课时分配：2课时 教学要求: Show how casting decisions contribute to the overall effect of a film, and how characters can
6 sometimes represent externalizations(or to use a Freudian term “projections”) of other characters. 教学内容：
Horror and Synopsis , The American Family and other Problems . 思考题：
1. What makes The Shining a frightening film? 2. Do you agree with the idea of evil that is advanced in The Shining ?
Chapter 15 Science Fiction Film
课时分配：2课时 教学要求：
Consider the role of non-human characters and of character absences in the film. Describe how editing, sound, and visual rhymes are employed in the film? 教学内容：
Science Fiction and Synopsis , “Absolute Cinema”. 思考题：
1. Does 2001: A Space Odyssey manage to raise Hollywood cinema to the level of “art”? 2. What, ultimately, do you think 2001: A Space Odyssey is trying to say ?
7 附录：参考书目
1.黄际英、侯丹、王丽娟选编，《博学英语·英美影视欣赏》，上海：复旦大学出版社，2006年。 2.叶莉，《英语电影电视剧欣赏》，北京：北京航空航天大学出版社，2006年。 3.刘晓庆，《经典电影作品赏析》，北京：高等教育出版社，2005年。
4.朱维芳编，《英语电影教程(上、中、下)》，北京： 外语教学与研究出版社，2005年。 5.朱小品，《电影英语赏析》, 长沙：湖南人民出版社, 2005年。 6.赵英男，《英文影视赏析》，北京：清华大学出版社, 2005年。 7.吴耘，电影视听英语教程，北京：北京大学出版社，2004年。
8.朱小晶，郝昕荣编著，《电影英语赏析》，长沙：湖南人民出版社，2004年。 9.吴相松，《英语影视学习与欣赏第一辑》，北京：世界知识出版社，2002年。 10.蔡东东主编，《当代英美电影欣赏》，北京：外文出版社，2000年8月。
执笔人：
李丽萍 2006年6月 审定人：
褚玉襄
2006年6月
院(系、部)负责人：
黄能
2006年6月
第二篇：英语影视鉴赏作业
英语影视鉴赏材料化学111叶燕如13号
Differences between Chinese and American heroism
英雄崇拜在每种文化中都存在，英雄主义在其特定的文化中代表了特殊的社会文化追求，并在一定程度上影响着社会的发展。但不同文化对英雄主义社会价值的定义却不一样。英雄崇拜是一种普遍的文化心理，创造自己的英雄来保持其精髓是每一种文化的责任和目标。英雄主义的核心在于评价英雄的社会价值，不同文化的分歧就在于怎样的人能被视为英雄。
论及美国英雄与中国英雄的差别，从影视的角度出发，很多人的第一印象便是，美国英雄大多都是年轻的帅哥，而中国英雄大多年老。但在影视中，导演所想要表达的却是内在的文化差异。
就起源而言，中国英雄主义的起源体现在以下四个方面：首先，英雄主义是在人们同大自然的斗争中产生的;其次，英雄主义产生于民族战争和民族融合;再次，英雄主义产生于阶级斗争;最后，儒家思想对中国的英雄主义产生了很大影响。总的来说有四种心态背景引发了美国西进运动中的美国英雄主义：第一，获取新的土地;第二，追求理想中的富裕之乡;第三，不满足感的吸引;第四，对未知世界的好奇和征服。
就其特点而言，在美国影视中，美国电影中表现出来的英雄有与众不同的吸引人的性格特点。他们强调自我和个人价值。比如，在《生死时速》中，男主有傲慢的特点，只按自己的意志做事情，不会考虑世俗观点，其主要表现就在于电梯事故中，歹徒劫持他好友要挟他要钱，可是他却开抢伤害人质而达到抓到歹徒的效果。除此之外，美国影视中的英雄还有以下四个特点：第一，英雄都在成功前经历挫败。第二，英雄有对家庭的责任感。第三，英雄除了身体强健之外，还必须具有智慧和勇气。第四，美国电影常常表现出英雄在危险境况时的幽默。
和美国电影中拥有强健体魄的英雄不太一样，中国电影中地英雄更多的表现内在品质，很关键的一点是他们对国家对民族的责任感。比如张艺谋的电影《英雄》中就表现了一个典型的中国英雄形象。当个人利益和情感和国家民族的利益发生冲突时，永远是把国家民族大局摆在第一位。中国电影中的英雄的另一个特点是，他们往往表现得完美，没有缺点。这种完美的英雄形象，拉长了普通人和英雄的距离。
通过对中美影视中英雄主义的对比以及各自特征和起源的分析，我们可以看出中美两国的文化差异。用四个字概括的话，中国英雄求的是集体主义，美国英雄求的是个人主义。不管是如何的差异，英雄主义都成为一股看不见的力量鼓舞着人们为国家和人民作出贡献。
第三篇：暑期英语影视欣赏
电影，以生动活泼的画而来塑造人物形象.讲述某个故事，抒发某类情感，说明某种道理，己经成了人们喜闻乐见一种艺术形式。对英语学习者来说，外语影片有利于我们了解西方文化.学习电影艺术的美学价值.掌握英语语言风格.丰富语言文化知识和技能。它具有其他英语学习方法不可替代的作用。
1.提高英语听力水平，锻炼口语表达能力。英语电影中说的英语大多数带着角色专有的气质、情感、13音等特征，是真正的英语口语。因此，从听开始着手使听与说成为学习开始阶段的主要方式进行外语教学。而看英文电影是培养学生听说能力的最直接、最有效的方法。电影中的精彩对白、原汁原味的英语环境，给我们提供了一个练习听力和13语的极好机会
2.观看英语电影可以帮助学生扩展词汇。看英文电影可为学生的口语词汇充电。怎样讲出地道的英语?表达时用上地道的词汇，不仅可使语言形象.生动，还可以体现出深厚的文化底蕴。如：Do you know how feel about you?/I feel like walking through fire for you!”这种衷心的表达难道不远比我们熟知的l love you更有震撼力吗?
3. 背诵黄金句型，模仿经典对白。背诵是英语学习的有效手段，如果你能准确流畅地背诵一批电影的精彩对白，你在英语交流时就会得心应手。通过模仿句子.可把句子读得准确流畅，训练学生的发音和说话能力。
4.熟悉整部电影内容。用英语概括故事情节。通过概括故事情节。用精确的语言把故事大意概括出来，不但可以加深学生对电影的理解，还可提高学生应用英语语言的能力.使听说读写能力得到全面发展。总之，在外语学习中，英文电影是非常好的教学素材起着重要的作用。
按照新课程课本教材各模块每个单元的主题，我们精选了语言贴近生活，文化特色鲜明，思想性上佳的英文影视作品，鼓励大家利用假期，欣赏以下影片。通过欣赏以下影片可以帮助我们获取与课本内容相关的语言和文化精髓。
模块一
Unit 1 Friendship
Cast away《荒岛余生》
Friends 《老友记》
The Boy in the Striped Pajamas《穿条纹睡衣的男孩》
Once upon a Time in America 《美国往事》
Unit 2 English around the world
The Holiday 《恋爱假期》
Notting Hill《诺丁山》
Unit 3 Travel journal
Out of Africa 《走出非洲》
The Motorcycle Diaries 《摩托车日记》
Unit 4 Earthquakes
National Geographic Anatomy: Of an Earthquakes 10.5 : Apocalypse 《毁灭日记》The Great Los Angeles Earthquake 《洛城大地震》
Unit 5 Nelson Mandela---a modern hero
Nelson Mandela 《纳尔逊.曼德拉》
模块二
Unit 1 Cultural relic
BBC: Around the World 80 in Treasures 《BBC：世界八十宝藏》
Time Machine《时移世易》
Unit 2 The Olympic Games
Chariots of Fire 《火之战车》
Olympia 《奥林匹亚》
Million Dollar Mermaid 《出水芙蓉》
Aka Tokyo Olympiad 《1964年东京奥林匹克运动会》
Unit 3 Computers
I, Robot 《我，机械公敌》
Bicentennial Man 《机器管家》
Robots 《机器人历险记》
Unit 4 Wildlife protection
Magic in the Water 《水怪传奇》
Loch Ness 《尼斯湖》
Mee-Shee: The Water Giant 《深湖巨兽》
Lake Wakatipu 《瓦卡蒂普湖》
Unit 5 Music
Sound of Music 《音乐之声》
Music and Lyrics 《K歌情人》
High School Musical 1 《歌舞青春1》
High School Musical 3 《歌舞青春3》
第四篇：英语文学文化及影视赏析
(2学分75学时)
一、课程描述：
本课程拟对英语经典文学与相关文化概况进行简要介绍，并遴选英美国家的经典作家和作品，对其文学特色、文化背景进行分析。课程重视文学作品与时代背景、西方历史文化的联系，在教学中将理论与实践相结合，做到寓教于乐。在课内，不仅有作家作品、相关文化背景和信息的介绍、经典作品片段的解读，并通过课堂讨论以及影视作品的欣赏帮助学生最直观地理解西方文化与文学作品的文本意义。在课外，学生需要查阅相关资料，完成相关问题的回答与读书报告，以一种轻松愉悦并且多方面切入的方式学习、了解和体验英语文学文化。该课程目的在于通过英语文学文化的学习，提高学生对英语语言的掌握能力、增强对英语文学经典的理解力和对西方文化的审美能力，进一步养成对英语的敏感性，培养人文素质和文学涵养。
二、教材：
王守仁主编，《英国文学选读》，北京：高等教育出版社。
陶洁主编，《美国文学选读》，北京：高等教育出版社。
秦秀白，《英美国家概况》，北京：高等教育出版社。
王佐良，《欧洲文化入门》，北京：外语教学与研究出版社。
自编讲义
三、教学方式：
理论与实践相结合。
四、考核方式：
提交一篇与所学课程相关的课程论文，用英语完成。
总成绩=期末考试成绩70%+平时成绩30%
五、主讲教师：姜萌萌
第五篇：影视美联英语 鲍勃·迪伦还有不为人知的一面
小编给你一个美联英语官方免费试听课申请链接： http://m.meten.com/test/waijiao.aspx?tid=16-73675-0
美联英语提供：影视英语 鲍勃·迪伦还有不为人知的一面
On a bright, cool afternoon in July, Jacob Maymudes sat on the deck of the small guesthouse he rents in the Los Feliz neighborhood here, reflecting on the strange journey of his first book, “Another Side of Bob Dylan,” which will be published on Sept. 9 and has already excited interest.
晴朗凉爽的七月下午，洛斯菲利兹附近一家小客栈，雅可布·梅穆迪斯(Jacob Maymudes)坐在露台上，回忆着自己第一本书的奇异旅程。这本9月9日才出版的《鲍勃·迪伦的另一面》(Another Side of Bob Dylan)，已经开始引起了人们的兴趣。
“It was never my intention to write a book about Bob,” he said, summoning up the difficult period in his life when he resisted completing the memoir left unfinished by his father, Victor Maymudes (pronounced may-MOOD-es), a longtime member of Mr. Dylan’s inner circle who had bitterly fallen out with him in 1997 and died four years later, leaving behind 24 hours of taped reminiscences.
“我从来没想过写一本关于鲍勃的书，” 他的父亲维克多·梅穆迪斯(Victor Maymudes)是迪伦小圈子里的长期成员，1997年和迪伦大吵一架，四年后与世长辞，留下了24个小时的口述往事录音带，雅可布回忆，在自己人生中艰难的时刻，他拒绝写完父亲未完成的回
忆录。
Now 34, Jake grew up long after the Dylan legend had been formed, but he comes honestly to his casual “Bob.” He was 7 when he first met Mr. Dylan, at the back lot of Universal Studios. Jake was with his father, who was continually on the road with Mr. Dylan, carrying out an assortment of essential backstage assignments: as tour manager, chauffeur and body man, not to mention chess-playing companion. 如今杰克(Jake，雅可布的爱称——译注)34岁了，早在他长大成人之前，迪伦的传奇就已经成型，但是关于这位亲切的“鲍勃”，杰克总是实话实说。他第一次见到迪伦是和父亲一起，在通用录音棚的后院，杰克那年七岁。父亲经常和迪伦一起巡演，担任各种幕后工作——巡演经纪人、司机和保镖，更别说还要在酒店里陪迪伦下棋。
They were roles he had been playing, off and on, since the early 1960s, when he was known as Mr. Dylan’s protective sidekick: together with him in London for Mr. Dylan’s first overseas concert; in a Manhattan hotel suite for a marijuana-infused summit with the Beatles; in Malibu, where Mr. Dylan’s first wife, Sara, is said to have poured out her marital troubles to Jake’s mother, Linda Wylie, while the unreleased “Blood on the Tracks” played on the stereo and Mr. Dylan suddenly walked in. 从20世纪60年代初，他的父亲就断断续续担任这些角色，被视为保护着迪伦的死党，迪伦去伦敦，第一次在海外举行演唱会时带他同行;迪伦在曼哈顿酒店套房里和“披头士”(Beatles)共享大麻时他也在场，据说迪伦的第一任妻子莎拉(Sara)在马里布向杰克的母亲琳达·怀利(Linda Wylie)倾吐婚姻中的烦恼，两人边说边用音响放着尚未公开发行的《音轨上的血迹》(Blood on the Tracks)，这时迪伦突然走了进来。
(“He said the songs were so painful, he didn’t know how anybody listened to them,” Ms. Wylie said in a phone interview last week.) (“他说这些歌太痛苦了，他不知道别人听了会怎么想，”怀利上周接受电话采访时说。)
Not quite six years older than Mr. Dylan, Victor, an imposing, dark-haired six-footer, was an established figure on the folk scene — a promoter, manager and club owner in Los Angeles — when he came to New York and met the singer in 1961 or 1962. 维克多比迪伦大六岁，是个仪表堂堂的黑发男人，身高六英尺，1961或1962年左右，他来到纽约，结识了迪伦，之前在洛杉矶做过歌手推广、经纪人，开过俱乐部，已经是民谣界的成名人物。
The two instantly connected, and as Mr. Dylan’s career took off, Victor moved in and out of his orbit — drifting away to pursue projects of his own, but always circling back to Mr. Dylan. 两人一见如故，迪伦的事业起飞后，维克多与他的人生轨迹一再交汇。他有时会离开一下，去实现自己的目标，但最后总会回到迪伦身边。
“He was perceived as the keeper of the secrets,” said David Hajdu, a music historian whose book “Positively 4th Street” describes the early ’60s folk scene. “His reputation was for being enigmatic, closemouthed, trustworthy, impenetrable.”
“他被视为秘密的保管者，”音乐历史学家，《肯定是四号街》(Positively 4th Street)的作者大卫·哈尔杜(David Hajdu)说，“他以神秘莫测、善于保密、值得信赖和滴水不进著
称。”
Victor’s presence at the creation mattered to Mr. Dylan, said Sean Wilentz, the Princeton historian and author of “Bob Dylan in America,” a 2010 best seller. “It’s a sense of loyalty, of kinship,” he said. “You were brothers together. You were scuffling. That’s why Dylan brought him back.”
普林斯顿大学历史学家西恩·韦伦兹(Sean Wilentz)的著作《鲍勃·迪伦在美国》(Bob Dylan in America)是2010年的畅销书，他说维克多从一开始的参与就对迪伦很重要。“他对迪伦来说意味着忠诚和亲人，”他说，“兄弟俩总免不了打打闹闹，所以迪伦总是让他回来。”
Brought him back even after an episode involving a teenage girl that led to Victor’s being fired as tour manager in 1995. Another star might have banished him. Instead, Mr. Dylan had Victor scout for and look after his real estate holdings. A quarrel over one property caused the final, acrimonious break in 1997. 1995年，因为一个年轻女孩的关系，维克多从巡演经纪人的位子上被解雇，发生了这样的事，迪伦后来还是叫他回来。换了别的明星可能早就把他赶走了。可是这件事之后，迪伦还是让维克多帮自己寻找不动产。结果到1997年，因为一处地产，两人吵了起来，导致了最终的决裂。
In 2000, Victor, who was flat broke, signed a book contract with St. Martin’s Press and began speaking into a tape recorder. A year later, he died of an aneurysm, at 65. The unfinished book became another mythic item in the ever-expanding “Dylanology,” and curiosity grew. 2000年，一文不名的维克多与圣马丁出版社签约写一本书，开始对着录音机口述。一
年后，他死于动脉瘤，享年65岁，这本未完成的书也成了日益庞大的“迪伦学”中的又一个神秘课题，人们对它的好奇与日俱增。
“What will he reveal?” as Mr. Hajdu put it. 正如哈尔杜所说，人们好奇“他到底披露了什么?”
It was a question Jake was in no rush to answer. He was still troubled by his father’s death and the sense that Victor had placed his needs above those of Jake and his family. 杰克并不急着回答这个问题。当时父亲的死仍旧令他困扰，眼前的局面令他觉得父亲把自己的需要置于杰克和全家人之上。
Then, in January 2013, a fire destroyed the New Mexico house where Ms. Wylie had been living. Though long estranged from Victor, she had kept his ashes in a box. It was incinerated in the blaze, and only the ashes, and the tapes, seemed to remain of Victor. 2013年1月，一场火灾烧毁了怀利女士在新墨西哥长期居住的房子。她和维克多尽管长期疏远，但还留着他的骨灰盒。那个骨灰盒也在大火中付之一炬，维克多遗下的东西似乎只有骨灰和那些磁带了。
“The whole idea was to write this homage to my father,” Jake, who has a career in visual effects in film and TV, recalled of his decision to finish his father’s work. “Everything else burned up.”
“我写这本书是想向父亲致敬，”杰克回忆自己最终决定完成父亲这本书时的情形，他的职业是做电影与电视的视觉特效，“其他的一切都已经烧光了。”
He put an hour of raw audio on YouTube, and “quickly I got 400 hits in a day,”
he said. Biographers, journalists and fans got in touch, urging him to release the other 23 hours or to turn them into a book. 他在YouTube网站放出了一段一小时的原始音频，“很快就有了每天400次的点击率，”他说。传记作家、新闻记者和粉丝竞相和他联系，催促他赶快把另外23个小时的素材也放出来，或者写一本书。
Jake diligently transcribed the tapes and sent material off to his father’s publisher, but got a firm rejection. O.K., then, he would publish the book himself. But a Kickstarter campaign fell far short of the $45,000 goal, even after an article in Rolling Stone brought in fresh donations. 杰克勤奋地誊写这些磁带中的内容，把这些素材寄给父亲的出版商，但是遭到了坚定的拒绝。好吧，他决定自己出版这本书。但在Kickstarter网站上发起的众筹项目未能达到4.5万美元的目标，《滚石》(Rolling Stone)杂志报道了此事，为他带来了一些新的捐助，但最后还是没有筹到足够的钱。
With the guidance of an agent, Jake tried again, piecing together his father’s free-form tales and crosschecking the jumble of incidents against books like Clinton Heylin’s “Bob Dylan: A Life in Stolen Moments Day by Day 1941-1995.” This time, when he tried St. Martin’s he got a contract. 在一个经纪人的帮助下，杰克再次尝试，他把父亲随意散漫的故事组织起来，把这些混乱的事件和其他书籍交叉对照，比如克林顿·赫林(Clinton Heylin)的《鲍勃·迪伦：被偷窃时刻里的人生，1941-1995的每一天》(Bob Dylan: A Life in Stolen Moments Day by Day 1941-1995)。之后他又向圣马丁出版社投稿，终于得到了合同。
“Another Side of Bob Dylan” is an unusual addition to the giant Dylan oeuvre,
the quirky stepchild of Mr. Dylan’s own looping narratives. One thread explores Victor’s adventures in Sunset Strip bohemia. In the 1950s, he was a co-founder of the Unicorn, a club that attracted the likes of Lenny Bruce and Marlon Brando. In the ’60s and ’70s, Victor palled with Dennis Hopper, going to Peru to help build sets and scout locations (and ingest mountains of cocaine) for Hopper’s ill-starred 1971 epic, “The Last Movie.”
对于迪伦的全部作品来说，《鲍勃·迪伦的另一面》堪称精彩的补充，很像迪伦自己那种循环叙述的诡异继子。书中一条线索追溯了维克多在洛杉矶落日大道上的波西米亚冒险生涯。20世纪50年代，维克多是独角兽俱乐部的创始人之一，伦尼·布鲁斯(Lenny Bruce)和马龙·白兰度(Marlon Brando)等人都是那里的常客。六七十年代，维克多和丹尼斯·霍珀(Dennis Hopper)成了好朋友，他曾经到秘鲁去为霍珀1971年那部多灾多难的史诗片《最后一部电影》(The Last Movie)搭建布景，寻找外景，还吸食了巨多的可卡因。
The second narrative is an intimate, conversational account of Victor’s tempestuous friendship with Mr. Dylan. It included designing and building a house in New Mexico for Mr. Dylan in the ’70s. Later, Victor bought and fitted out the tour bus Mr. Dylan used on his “Never Ending Tour” in the 1980s and ’90s. 第二条叙事线索是亲密的对话体，讲述了维克多与迪伦狂风暴雨般的友谊。70年代，维克多曾为迪伦在新墨西哥设计并建造了一座房子。后来维克多买下并改装了一辆巡演大巴，正是迪伦在20世纪八九十年代“永不结束的巡演”中使用的那一辆。
But the most vivid passages go back further — to 1964, the pivotal year when Mr. Dylan broke out of the East Coast folkie bubble and made a cross-country journey. Victor took the wheel of a blue Ford station wagon, also joined by the folk
musician Paul Clayton and the journalist Peter Karman. 但是最精彩的篇章还发生前面——1964年对于迪伦来说是关键的一年，他从东海岸的民谣泡沫中脱颖而出，做了一次全国巡演。维克多开着一辆蓝色福特旅行车，同行的还有民谣乐手保罗·克莱顿(Paul Clayton)和记者彼得·卡尔曼(Peter Karman)。
“It was a group of friends, all in the know, a nucleus of hip in America,” Mr. Wilentz said of the 1964 tour. “It was something special. The civil rights movement was going on.”
“他们是一群彼此知根知底的朋友，美国时髦人士的核心，”韦伦兹这样评价这次1964年巡演。“这是一次特别的巡演，当时民权运动也在进行中。”
The stops included a visit to the poet Carl Sandburg, in North Carolina, and a stay in New Orleans during Mardi Gras, where Mr. Dylan was denied entrance to a blacks-only bar. Back on the road, they heard early Beatles hits on the car radio, and Mr. Dylan feverishly scrawled lyrics in a spiral notebook. 巡演途中，他们到北卡罗来纳访问了诗人卡尔·桑德堡(Carl Sandburg)，在新奥尔良过狂欢节，迪伦被只许黑人进入的酒吧拒之门外。回到巡演路上，他们从广播里初次听到“披头士”的金曲，迪伦疯狂地把歌词记在自己的活页笔记本上。
The first inkling of Mr. Dylan’s new fame came in London that May, when he performed at the Royal Festival Hall to an audience much larger than he normally drew in America. Victor draped his large frame over Mr. Dylan as they slipped through the ecstatic crowd. 那年5月，迪伦来到伦敦，有迹象表明他的名声又更进一步，当他在皇家节日大厅演出时，来的观众比平时在美国多得多。最后维克多用高大的身材掩护迪伦从欣喜若狂的人群
中逃出去。
Fresh from this triumph, the pair vacationed in Vouliagmeni, Greece, on the Mediterranean. “I explored the coast and swam in the sea,” Victor recalls, while Mr. Dylan stayed in the hotel, “typing and handwriting between smoking cigarettes, and he can do that for longer than anybody I know.”
凯旋之后，两人去了地中海边的希腊武利亚格迈尼度假。“我在海边玩，下海游泳，”维克多回忆，迪伦则留在酒店“打字、写东西，抽烟，他干这个的时间比我认识的任何人都要长”。
Returning to New York, they rushed to a studio, and Mr. Dylan “blurted it all out,” running through 11 new songs, “one after another without rehearsing.”
回到纽约，他们一头冲进录音室，迪伦“把一切都倾吐出来”，一口气录了11首新歌，“一首接一首，连排练都用不着。”
Improbable though this account seems, it squares with the one in Howard Sounes’s book “Down the Highway: The Life of Bob Dylan,” which describes a single six-hour session, lubricated by Beaujolais, that resulted in the album “Another Side of Bob Dylan,” Mr. Dylan’s farewell at age 23 to the blues-inflected folk idiom he had conquered. Two songs — “Chimes of Freedom” and “My Back Pages,” with its soaring refrain, “Ah, but I was so much older then/I’m younger than that now” — signaled the next, visionary phase in Mr. Dylan’s work. 尽管听上去不太可能，但这和霍华德·桑恩斯(Hoiward Sounes)的《沿着公路直行：鲍勃·迪伦传》(Down the Highway: The Life of Bob Dylan)里的描写是吻合的，书中写到鲍勃·迪伦边喝博若莱葡萄酒边录音，一口气录了六个小时，成果就是专辑《鲍勃·迪伦的另一
面》。23岁的迪伦用这张专辑向布鲁斯影响的民谣风格告别，因为他已经征服了这种风格。专辑中的《自由的钟声》(Chimes of Freedom)和《我的最后几页》(My Back Pages)是顶峰之作，“啊，我曾经如此苍老，如今却风华正茂”——这预示着迪伦作品中富于远见的新篇章。
Later that summer, he was invited to meet the Beatles at the Delmonico Hotel. The Dylan entourage brought along some marijuana. Mr. Dylan sat down to roll a joint, as Victor and others have reported, but he proved all thumbs, and Victor expertly took command. 那年夏天快结束的时候，迪伦受邀去德尔莫尼克酒店会见“披头士”。迪伦一行人随身带了大麻，根据维克多和其他人的说法，迪伦坐下卷了一支大麻烟，但是笨手笨脚的，还是维克多麻利地帮他卷好。
It was the first quality weed the Beatles had smoked, but the giddy conversation went on without Mr. Dylan. Exhausted from a string of late nights and a few drinks, “he passed out on the floor!” Victor remembers. 这是“披头士”第一次尝试高品质的大麻烟，但是迪伦没有参与之后的胡言乱语。因为之前熬了好几夜，还喝了酒，“他倒在地板上昏睡过去!”维克多回忆。
Not that the book is an exercise in skeleton rattling or score settling. On the contrary, Victor reverently speaks of Mr. Dylan’s “greatness” and “genius” and rejoices in the “magical mystery tour” Mr. Dylan opened up for him — even as he remained curiously remote. The book suggests that the closer one got to Mr. Dylan, the more unknowable he became. (Mr. Dylan’s representatives did not respond to email and phone requests for comment for this article.)
这本书并不是为了揭丑或者报复。相反，维克多恭敬地说了很多迪伦的“伟大”与“天才”之处，因为能参与迪伦“魔力般的神秘巡演”而感到高兴——尽管迪伦保持着奇异的疏远。这部书说，一个人愈是接近迪伦，就愈是觉得他难以了解(迪伦的代理人并没有回复笔者要求对本文进行评价的电话或电子邮件采访)。
Throughout, Victor is grateful for the many favors Mr. Dylan did him, like bringing him back into the fold, no questions asked, when Victor had run out of money in the ’80s and needed a paycheck. “You’re hired!” he remembers Mr. Dylan saying. 维克多始终感激迪伦为他做的许多事情，比如20世纪80年代期间，维克多身无分文，需要钱花的时候，迪伦带他回到圈子里来，什么也没多问。“你被雇用了，”他记得迪伦当时这么说。
Jake, too, reveres Mr. Dylan. When I went to see him, choice memorabilia were carefully laid out on his bed: set lists from Mr. Dylan’s tours, stray notebook jottings in Mr. Dylan’s hand, as well as a hilariously vituperative letter the singer apparently drafted, on hotel stationery in Tokyo, to a music journalist back home. 杰克也很尊敬迪伦。我去访问他的时候，看到他床头放着精心选择的旧物，其中包括迪伦巡演的曲目表、迪伦亲手写下的零散笔记，还有一封充满谩骂的信件，显然是出自迪伦之手，写在东京某家酒店抬头的信纸上，是给一个美国音乐记者的。
There was also the guest book from the memorial for Victor at McCabe’s Guitar Shop in Santa Monica in 2001. Tom Petty, Jackson Browne and the filmmaker Paul Mazursky all signed it. Mr. Dylan did not attend, Jake is certain, although Jake’s sister, Aerie, told me that a slight figure in a hoodie, Mr. Dylan’s usual garb,
slipped into the proceedings and left just as quietly. 2001年，在圣塔莫妮卡的麦凯布吉他店举办了维克多的追思会，杰克手头的签名簿上有汤姆·佩蒂(Tom Petty)、杰克逊·布朗(Jackson Browne)和电影导演保罗·马祖斯基(Paul Mazursky)的签名。杰克记得很清楚，迪伦没来参加，但杰克的姐姐伊莉(Aerie)说，她看见一个穿着连帽衫的身影(迪伦平时的装束)走进人群，然后又悄悄离去。
Next, we climbed into Jake’s secondhand SUV, bought with a portion of his $70,000 book advance, and headed to the 18th Street Coffee House in Santa Monica. Part of a larger complex purchased by Mr. Dylan in the mid-1990s, it was designed and built by Victor. 后来我们走上杰克的二手SUV车，这是他用这本书七万美元预付款中的一部分买来的，我们驶向圣塔莫妮卡18街咖啡屋。那里是迪伦在90年代中期买下的大型地产中的一部分，是由维克多设计并建造的。
“I helped nail the roof, put up these poles, laid the brick,” Jake said. He worked there as a teenager, and Aerie briefly managed the place, until, as has been reported by Mr. Sounes and now Jake, losses in the first year totaled almost $100,000. Aerie was told she would be dismissed. “我帮忙在屋顶钉钉子，立起柱子，添砖加瓦，”杰克说。十几岁的他当时在那里帮工，伊莉也短暂地管理过那个地方，后来，根据桑恩思和杰克的说法，这里第一年就亏损了将近10万美元。伊莉说自己即将被开除。
“I told him he needed to fire me himself,” she recalled last week, referring to Mr. Dylan. “And that’s what happened.” Mr. Dylan came by, she recalled, and brusquely let her go. Victor, who witnessed the incident, “quit that instant,” Jake
writes. He sued Mr. Dylan for retirement funds, and the friendship was never repaired. “我对他说，他得亲自解雇我才行，”上星期她回忆，“他”是指鲍勃·迪伦，“后来他就这么做了。”迪伦来到店里，粗鲁地让她走人。维克多目睹了这一幕，“当场就辞了，”杰克写道。后来杰克控告迪伦，要求迪伦付自己退休金，两人的友谊再也没能恢复。
“All he had to do was apologize to Aerie and all of this would be different,” Victor told Jake. “他只需要向伊莉道歉，一切就都大一样了，”维克多对杰克说。
And yet Jake has fond memories of the coffeehouse: Mr. Dylan and Victor playing wordless games of chess; Ray Mancini showing up for sparring sessions with Mr. Dylan at the private boxing club in back; Jake sneaking into Mr. Dylan’s office to find fresh pages, typed on both sides, and with no margins, sitting alongside the old-fashioned typewriter. 但是对于那座咖啡屋，杰克也有着美好的回忆：迪伦和维克多曾在那里，无言地下着象棋;雷·曼西尼(Ray Mancini)来到咖啡屋后的拳击俱乐部，和迪伦练习拳击;杰克溜进迪伦的办公室，用迪伦那台老式打字机在白纸两面打字，一点不留空白。
“He was always nice to me,” Jake said of the man he grew up thinking of as his father’s boss. And except for the Merit cigarettes Jake bummed at age 15, “I never asked anything of him either.”
“他对我一直都很好，”杰克说，他从小一直把那个男人视为父亲的老板。除了15岁那年管他要过几支“荣誉”香烟，“我从没向他要求过任何东西。”