导演电视毕业论文外文翻译.docx

DIRECTOR, TELEVISIONDavid Tetzlaff The television director, who sits atop the chain of command of the crew during the actual filming or taping of the show, is responsible for the visualization of the TV program, selecting the different camera angles and compositions that will used. In the production of films for theatrical exhibition directors frequently devise and initiate their own projects. Many film directors, such as Oliver Stone and Quentin Tarrantino, write their own screenplays. Even in cases where the director is hired after a producer has initiated a project, and a script has already been commissioned, the director has great leeway to interpret the material in her or his own way. In addition to controlling visual style, the director may also develop the themes, work with actors on characterizations, even participate in the rewriting of the script. Television directors, however, work on a per-episode basis. Because of the highly compressed production schedule, any series will employ several different directors during a season. When the director arrives on the scene, the characterizations, themes and basic style of the show have already been established by previous episodes. In fact, such creative decisions were often made by the shows producer in the development of the series, and they remain the province of the producer during the run of the show. The director, then, takes an existing, basic aesthetic set-up and works out the details for the episode at hand. When film directors-Steven Speilberg, Michael Mann, David Lynch-work in television, they generally act as producers because that from that position the more important creative choices are made. Nevertheless, the direction of TV drama episodes still offers excellent opportunities for creative expression. A number of TV drama directors, including Spielberg, have gone on to become film directors. This was even more the case in the 1950s and 1960s when television served as a training ground for some of the most prominent directors to work in the American film industry. Arthur Penn, Sidney Lumet, Sam Peckinpah, Delbert Mann, Robert Altman and other directors moved from television to the big screen. More recently, some television directors, such as Thomas Carter, noted for directing outstanding pilots for Miami Vice and other shows, have become producers of their own television series. And in some cases prominent film directors-Lynch, Barry Levinson-have chosen to direct episodes in the series they produce. In the spring of 1995 Quentin Tarrantino elected to direct the concluding episode of the first year of the NBC series E.R. because he found the show compelling. In contrast to single-camera style, multi-camera television production requires that the visual scheme be adjusted around the performance. The on-camera talent deliver their performances in real-time, and the visualization is created by switching among a series of cameras trained on the unfolding event (and, in many cases, among several channels of electronically stored graphics). All live programs, including news and sports broadcasts, are produced this way. So, too, are talk, discussion and game shows which are shot live-to-tape, then later broadcast with minimal editing. Directing in these genres offers less opportunity for creativity. Multi-camera style in itself introduces great technical limitations, but these are often less restricting than the constraints defined by the forms themselves-how much visual flair is desirable in a shot of Peter Jennings reading a report of the latest Mid-East conflict? Usually, then, the visual elements in presentational event programs such as news, talk and sports generally follow a rigid pre-set pattern. This is a necessity given that the production needs to be created almost instantaneously, with little or no time to prepare for the specifics of the particular episode. (Indeed, much of the visual excitement in live events such as sports derives from technical features such as instant replay.) Directing this type of production is more a craft than an art. Though it requires great skill, the demands are mostly technical. Directors of multi-camera television productions generally sit in a control room, viewing a bank of monitors on which the images from each camera and graphics source are displayed. They do not operate any studio controls-they must keep their eyes glued to the monitors. They should not even look away to check notes or a script, but must simply know how the program should unfold and be able to keep their mind ahead of the developing action. The director of an American football game must be ready for the cut to the downfield camera before the quarterback throws the pass, for example, or the talk show director should anticipate an outburst of audience response. And this intensity must be maintained for long periods, with commercials serving as brief breaks from the action. In some ways multi-camera direction is a verbal art form. The director literally talks the show into existence, calling out cues for edits, camera movements, effects and audio transitions, while different specialized crew persons, listening via headset, execute these commands. During the 1950s, television drama specials and anthology series were shot in this multi-camera style, and often broadcast live. Directing in this context was especially challenging, requiring the dramatic skill of a stage director, the visual skills of a film director and the technical skills of a live TV director. These programs were often intimate psychological dramas. They called for relatively exacting visuals, which necessitated complicated camera and actor blocking schemes. For example, a primary camera and the lead actor had to be precisely positioned in order to get the required close-up without obstructing a second cameras view of the lead actress for the next shot. All these movements, of both cameras and actors, had to be executed perfectly in real time. It is easy to understand why, once the major film studios opened their facilities for TV productions, prime-time narrative shows quickly turned to film-style production. The producers were then able to establish considerably more control over the production process. Daytime drama, soap opera in the United States, is a different story. Because multi-camera production can be completed much more quickly and is therefore much less expensive than film-style, soaps are still shot live-to-tape using multiple cameras. With little time for pre-production or rehearsal, the director must establish a visual sequence that can be executed essentially in real-time. Yet that visual design must also serve the dramatic needs of the show. This task is made somewhat easier by the formulaic nature of the genre, but the combination of technical and aesthetic challenges makes directing soap opera one of televisions more difficult and under-appreciated tasks. This technique has been adopted for the production of prime time serials throughout Europe, for the teleroman in Quebec, and for telenovelas throughout Latin America. The one other contemporary TV genre that employs multi-camera technique is the situation comedy. Until the 1960s and early 1970s most sitcoms were shot in single camera film-style, with the laugh track dubbed in later. Beginning with All in the Family, however, comedy producers adopted multi-camera production techniques. This enabled actors to perform complete scenes before a live audience, generating natural laughter. In some cases it also allowed the producer to schedule two performances of the same script, which enabled the selection of the biggest laughs for use in the soundtrack. Sitcom production is actually a hybrid form, more likely to be shot with film cameras than video cameras. When this is the case, instead of cutting between cameras in real time with a switcher, all the cameras record the entire scene from different angles and edits are made in post-production, as in film-style work. Generally the shows are not performed from beginning to end in real time, but scene by scene, with breaks and retakes as needed. (The live audiences are apparently willing to laugh at the same joke more than once.) Still, this type of production is more a version of filmed theater than pure moving picture work, and a sitcom director operates more like a stage director. Sitcom visualization is usually very simple-lots of long shots to catch the physical nature of the comedy are intercut with a few close-up reaction shots. More extensive use of close-ups would be out of place since the actors usually employ broad gestures and strong vocal projection to communicate the performance to the back row of the live audience. The overall effect of this form is the creation of a proscenium style, as in the theatre. The camera serves as the surrogate audience and establishes a fourth wall which is rarely crossed. In this production style, the director concentrates on working with the actors on timing and execution, and successful sitcom directors are known primarily for their ability to communicate with the stars of their shows. In many cases these directors work with a single show for its entire run, directing almost all the episodes. Jay Sandrich, for example, is noted for his work on the Mary Tyler Moore Show and The Cosby Show, and James Burrows is equally acclaimed for his direction of Cheers. In many countries other than the United States the television director is afforded a role of greater prominence, much more akin to that of the film director. In most cases this situation holds because television productions have been limited to one or two episodes or to the miniseries. This role may change, however, as more and more television systems come to rely on regular schedules built around series production, with its attendant demand for tight production schedules and minimal pre-production opportunities. It is this industrial organization, itself the result of particular economic imperatives, that has defined the present role of the American television director, a role in which participation in the creative process is often secondary to that of the produce 中文译文：导演，电视 大卫.泰泽拉夫 电视导演,位于广阔的指挥链顶端，负责这部剧的实际拍摄或录像,选择和使用不同的视角组成可视化的电视节目。电影导演频繁启动着他们自己的项目设计。许多电影导演,如奥利弗斯通和昆汀,自己亲自写剧本。即使在某些情况下导演是租用已发起的一个项目,并已委托好了脚本,导演也有很大回旋余地用她或他自己的方式来解释资料。除了控制视觉风格,导演也可能发展其他主题,工作,甚至有演员参与刻画重写剧本。然而,电视导演由于高度压缩生产进度,任何系列都将使用几种不同的元素在同一个季节。当裁判到达现场的时候,前几部建立的那些表征、主题和基本的风格已经得到表现。事实上,这种创造性的决定在真人秀节目的制作人已经发展,而它们仍然保持生产巅峰时的状态。导演,作为一个已经存在的、基本的审美及设置的作品来说明详细。当史蒂文.斯皮尔伯格,迈克尔.曼,大卫.林奇这样的电影导演在电视台工作时,他们通常作为生产者,因为选择那个位置更有创造性。然而,电视剧集的方向仍为富有创意的表达方式提供了良好的机会,。大量的电视剧导演,包括斯皮尔伯格,已经成为电影导演。更突出的情况是,在20世纪五六十年代，美国电影行业担任电视节目培训基地中最为突出的导演工作。西德尼鲁迈特，亚瑟潘,山姆罗伯特,和其他导演从电视转移到大银幕。最近,有些电视导演,如托马斯卡特指出,对于提供优秀的飞行员指导迈阿密风云和其他节目,已成为他们自己的电视连续剧。,在一些情况下,突出的电影导演林奇,巴里列.文森对于已经直接选择他们生产的系列事件。相反,多幅摄像机电视制作要求周围的视觉方案调整的性能。在即时、交付及计算结果的可视化过程里，他们的表演天赋是由开关在一系列的相机展开活动的，而且在很多情况下,电子图形储存在几个渠道。所有的“直播”的节目,包括新闻、体育广播,就是用这种方式生产的。在这些流派指导提供创造力的机会更少。多幅相机的风格本身就是巨大的技术限制,但这些一般都不妨碍你所定义的约束形式本身到底有多少场景是可取的。彼得詹宁斯通常,读到一则报导最新的中东冲突然后,视觉元素在表演性”事件”程序,如新闻、交谈和运动中普遍遵循一个刚性的预设模式。这是一种必然考虑到几乎瞬间内的生产需要,创造与准备很少或没有时间具体的特定的一段。(事实上,大部分的视觉刺激都在“直播”的活动,如运动起源于即时回放的技术特点。)这种类型的生产指导更是一个工艺和一门艺术。但需要高度的技术技巧。导演多幅相机电视作品时，一般坐在控制室,就像观察从各种相机和图形源被显示的监视器上显示的图像。他们不要任何工作室控制操作他们必须保持他们的目光盯着显示屏上。他们甚至不应该回避目光查看笔记或脚本,但一定要知道应该如何展开并能保持他们的头脑超前的发展行动。美式足球的游戏必须要准备好了切到摄像机前的四分卫扔过去,例如,或谈话节目总监必须预先爆发现场观众的反应。这样的工作强度必须维持很长一段时间,短暂的休息与广告作为行动。在某些方面多幅相机方向是文字的艺术形式。导播喊叫修改线索，摄影机的运动、影响和音频转换,而不同的专业人员,通过听耳机执行这些指令。 在上世纪五六十年代,电视台经常进行现场直播。导演在此背景下