感谢
Jake贴吧字幕组【V.】同学的无私翻译

在罗伯特.布莱关于荣格之影子概念的测试中，布莱说了很多关于“人生包袱”的问题。“包袱”即，在我们活着的头二十年里，我们会隐藏让自己感到羞愧的东西。然后将我们的余生，都花在了致力于把这些东西从包袱里拿出去。比如我们的情感、怒火、创意、脆弱、麻烦、蔑视、本能、自身的野性等等。很长时间内都存在于我们的人生包袱之中。
所以，小伙子们学会了怎样把自己的感受藏于包袱之中。这样做是对的吗？他们学会了怎样忍住不哭。女孩子们则学会了怎么微笑和友善。这样做是对的吗？我们都知道哪部分的自己可以被社会所接受，哪部分则需要藏在包袱里。我们的老师、父母、和平辈们、都让我们知晓了自身的哪些部分必须存于包袱之中。而我们也照做了。

在电影《囚徒》中，杰克.杰伦哈尔的出场是，孤单一人坐在一家廉价的中国餐馆。虽然是节日，但他没有朋友、没女友，也没有家人。了不起的摄影师罗杰.狄金斯从杰伦哈尔的后脑勺开始对其进行拍摄。他就这样出现在观众面前。他也许就是每个人一直在找的那个绑匪。
我们很快就知道，他不是绑匪。他是个侦探，警察。我们仅由一闪而过的纹身对他的过去有了一丁点儿的了解。他曾在儿童之家呆过，一家青少年拘留中心。而且，看起来他曾在童年时被牧师亵渎过。罗伯特.布莱或许会说，这个年轻人有着十分沉重的包袱。

伦哈尔表现出来的比剧本上写的还要少，但是他内敛的表演又透露了很多。轻微的眨眼出卖了他的冷酷和纹身。每当他要耍狠时，就开始眨眼，泄露了他仍是那个会受伤会恐惧的小孩。
他面对镜头倾身向前，眼睛大得似乎要在脸上爆炸开来。这并非由某种火星张力所致，而是自然的，为其眼睑所缚，不受本人控制。似乎是说，“我只是想睡了，拜托。”

虽然之前也有这种集前度银幕侦探之大合者，比如史蒂夫.麦奎因在《警网铁金刚》中饰演的布利特，吉伦哈尔饰演的警察却不耍酷。他说着虚伪的警察官话——“我需要你冷静下来，夫人，让我干自己的事”。他是一个直来直往、沉默寡言、受历练不久的控制狂。他不受道德正义指引。更像是一个患有创伤后精神障碍和强迫症的家伙，试图去解决面临的问题。试图不给自己和他人的生活再添不幸。
当然，正是这一点让这个角色成为了一个伟大的英雄，也正是这一点让杰伦哈尔的表演显得如此出色。他不知道自己是个英雄。他不知道自己会全心全意地救这两个孩子；他只是在做他的工作。而杰伦哈尔也没有把这个角色当做英雄来演。

在每一种文明中，人类越文明，人格就会越分裂。光明是早上的一杯星巴克，是工作、结婚、生小孩，或许还有社会抱负，或者是清教徒的祷告，和用牙线洁牙。黑暗则埋藏在优雅、新时代健康话题、以及假亲密和空积极之下。即使黑暗面也包含着爱，高贵，动物的本能，和原始的吻，玩兴及幻想。所以我们会喜欢看《米老鼠》，而非《格林兄弟》。美国在不完美的神话中成长，在那时，黑人是有罪的，白人是高等的。因为这种误解，我们遭受了极大的痛苦。
杰伦哈尔饰演的警探别无选择地进入了格林兄弟的领域。为了找到这些小孩，他必须首先找到绑匪。他不能只做一个正直的公民，他必须走在法律的边缘。就这个案子而言，做一个循规蹈矩的警察并不能查到太多线索。这时他需要他的影子幽灵。那些被他放入人生包袱之中的过往。
我们看到吉伦哈尔不情愿地从理智走向鲁莽，看到他逐渐投入越来越多的情感、尽管仍然有所防备，看到他进入森林对付恶魔。他没有变成另一个人。电影结尾处，他和电影开头时一样，一脸疲惫和谨慎。但还是有了一点点的轻微变化，在最后一场戏里，他有了一丝丝的不同。有些本来已被埋藏的东西重生了。虽然是最最轻微的变化。几乎根本不为人注意。

【原文】http://filmmakermagazine.com/83293-jake-gyllenhaal-in-prisoners-the-shadow-knows/#.UtpUG-G-u9K
In Robert Bly’s examination of Jung’s concept of the shadow, Bly talks a lot about this thing called “the bag.” The bag is where, for the first 20 years of our lives, we hide the stuff we’re ashamed of. Or have been made to be ashamed of. Then we spend the rest of our lives trying to get those things out of the bag. Things like our emotions, our anger, our creativity, our vulnerability, our troublemaker, our defiance, our gut instinct, our spontaneous wildness. They’re in the bag a lot of the time.
So, boys learn how to put their feelings in the bag. Is that right? They learn how to not cry. And girls learn how to smile and be nice. Is that right? And we all learn which parts of ourselves are socially acceptable, and which parts need to go in the bag. Our school teachers, our parents, our peers, all let us know which parts of ourselves have just gotta go in the bag. And we do it.
In the movie Prisoners, Jake Gyllenhaal is introduced to us sitting all alone, by himself, at a cheap Chinese joint. It’s the holidays, but he has no friends, no girl, and no family. The great cinematographer, Roger Deakins, shoots Gyllenhaal from behind, on the back of his head. That’s how we meet him. He might be the kidnapper that everyone’s been looking for.
But he’s not the kidnapper, we find out soon enough. He’s a detective, a cop. We only get slight whiffs of his past, quick glimpses of his tattoos. He’s been in children’s group homes, juvenile detention centers. Also, it seems, he was sexually abused by priests at some point in his childhood. Robert Bly would probably say this young man has a very heavy bag.
Gyllenhaal shows us almost less than the script tells us, but in doing so, he shows us a lot. A slight eye tick betrays his hardness and tattoos. Every time he really needs to look tough, that damn eye tick acts up, revealing the little kid who’s still hurt and scared.
His face juts forward in front of his body, and his huge eyes seem to blast forward in front of his face. But instead of this becoming some kind of Martian intensity, it is qualified, always, made earthbound, by his eyelids, which he has no control over. Which seem to say, “there’s a big part of me that just wants to go to sleep, please.”
Although there is some of the minimalist concentration of former screen detectives, like Steve McQueen’s Bullitt, Gyllenhaal’s cop is not cool. He speaks in goody two shoes police vernacular — “I need you to calm down, ma’am, and let me do my job” — and he’s an anal retentive, buttoned-up, freshly cut control freak. One does not get the feeling that some righteous overall moral justice guides this man. It’s more like a guy with PTSD and OCD just trying to take care of what comes before him. Trying to not add more misery to his life and the life of others.
Of course, that’s part of what makes the character such a great hero, and it’s part of what makes Gyllenhaal’s performance so great. He doesn’t know he’s a hero. He’s just doing his job. He doesn’t know that he needs to save these kids with all his heart; he’s just doing his job. And Gyllenhaal does not play him as a hero.

In every civilization, as we get more civilized, our personality can split. The light side goes forward to Starbucks in the morning, to work, to marriage, to babies, to societal ambitions maybe, to puritanical thoughts maybe, to flossing. And the dark side is buried under politeness and New Age health talk and false intimacy and hollow positivity. Even though the dark side contains love, and elegance, and animal instincts, and primitive kissing, and playfulness and imagination. And so we’re left with Mickey Mouse. Instead of the Brothers Grimm. And America grows up on this defective mythology, where black is evil, and white is good. And we suffer tremendously because of this misunderstanding.
Gyllenhaal’s detective has no choice but to enter into Brothers Grimm territory. To find the kids, he must first find the kidnapper. He can’t just be an upstanding citizen, he has to go down into the basement. His prim and proper cop can only get him so far on the case. Then he needs his shadow. All the things he’s put away in the bag.
We watch Gyllenhall hesitantly go from his brain to his guts, watch him become emotionally involved despite his armor, watch him go into the woods to face the demons. He doesn’t transform from one person to another. At the end of the movie, he has the same weary, jaded circumspect mask on that he had in the beginning. But there’s the slightest flicker, in the last scene, of something just a little bit different about him. Something alive again, that had been buried. It’s just the slightest flicker though. We hardly notice it at all.

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发现国外这类杂志的文章都好专业好高深的说

马克

╰(*´）`*)╯

嗯。好多....

对照英文，读完，真心学习了。
真心谢谢这位无私翻译了多篇文章的 【V.】 同学。
@likemonalisa 建议为这位【V.】建一个专辑，专门收集她（他）翻译的文章。

[FACE WITH COLD SWEAT]读不完

翻译得好棒

啧啧