错综复杂的高速公路镇楼

很早就看到了这篇报道，大概7月多吧。一直想搬给大家看，英语是硬伤，我又很懒，所以一直拖着，知道昨天被一个问题贴炸出来，他提了一堆证明自己没有认真看片子的问题，偏偏在最后提到了“总弄个西直门航拍整景是啥意思啊？”这么个问题，我说了要另开贴回答这个问题，先把英文原版发给大家，老规矩，我自己的理解放在下面，逐句翻译太累，挑一点给大家看，想看全文的我也可以贴出来

文章标题
True Detective and the Changing, Divisive Nature of the Aerial Shot

If you’ve been watching the second season of HBO’s True Detective, you’ve probably noticed how much time is spent in the sky. Not by the characters but by the camera — gliding over industrial barrens, hovering above traffic on California’s arterial tangles of highway. The diamond interchange that serves as the backdrop for the show’s title card — a photo by David Maisel — may be the season’s central image, in cold contrast to the lone tree of season one. Lizzie O’Leary of “Marketplace” even suggested a True Detective drinking game on Twitter: “Do a shot every time there’s a highway aerial. Surprise! You’re dead!”

如果你看了真探第二季，你可能注意到很多时间都花在了天上。不借角色视角借由镜头滑行过工业废区，盘旋在加州错综复杂的如动脉般的高速公路上。借由David Maisel拍的照片，也就是镇楼图，反映了第二季的象征意义，就像第一集的寒冷之境那颗孤树一般。 “Marketplace”的 Lizzie O’Leary的吐槽我就不翻了。
翻译完之后发现我自己也不太看得懂，不过我个人的理解是
航拍的过渡镜头，屹立在工业废区之上错综复杂犹如城市动脉的高速公路所象征的意义就像第一季在无尽的冰凉中不倒的孤树一般。

“The aerials were written into the scripts from day one,” show creator Nic Pizzolatto says via email. “The idea was to highlight scale and connectivity; the big picture that informs these little lives.” Unlike season one, the current True Detective features multiple directors, so much of the responsibility for the visual style falls on the show’s director of photography, Nigel Bluck. He decided that, rather than a typical altitude of 200 to 500 feet, he would shoot from 1,000 feet — in part to amplify the abstract nature of the landscape, and in part because “we wanted a point of view that belongs to something bigger than us.”

The aerials were written into the scripts from day one,” show creator Nic Pizzolatto says via email. “The idea was to highlight scale and connectivity; the big picture that informs these little lives.” Unlike season one, the current True Detective features multiple directors, so much of the responsibility for the visual style falls on the show’s director of photography, Nigel Bluck. He decided that, rather than a typical altitude of 200 to 500 feet, he would shoot from 1,000 feet — in part to amplify the abstract nature of the landscape, and in part because “we wanted a point of view that belongs to something bigger than us.
“第一天就将空中镜头写进了剧本。”nic通过邮件说到。“这点子是为了突出规模和连贯性；巨幅的画面是为了显示那微不足道的生命。“不像第一季，目前真探有多名导演，所以摄影师在呈现视觉效果方面更为重要。Nigel bluck。他决定，不从常规典型的200~500英尺的高度拍，而是上升到1000英尺——一方面是对这抽象的环境背景具象化，另一方面， 我们想要一个远比我们伟大的参照。

这段话已经很明显的看出，NIC是凌驾于导演之上的，当一个野心勃勃的编剧拿到绝对的权利时，难以抑制的肾上腺素飙升，情怀和情操总需要一个合理的发泄口，于是就有了这远景镜头。我个人对远景镜头前期还是很喜欢的，觉得是很合理的过度，毕竟所有的事情都貌似围绕着这城市动脉而展开，每次远景的出现都会给我一些压迫感和思考的空间。但随着剧情的推进，貌似整个事件跟这美丽的公路已经没有多大关系，它需要的只是Vinci的黑暗与荒唐以及这无边黑暗中的一点点星光。后期远景镜头在出现的时候，更多是为了剧情服务，城市特写也变多起来，象征意义不那么浓了。把所有远景镜头综合起来看，更像是，一开始，我们对其抱着敬畏之心，在其凸显下，我们是多么渺小啊，然而剧情发展，我们发现一切都是人为的，奉若神明却也只是来自我们的成全。
已经要把自己说晕了，关于我的逻辑性，本人也只能呵呵一笑。
简单来说，前面的远景，更像是一种象征，像是这个城市的图腾，后面的远景，更像是一种叙述，像是这个城市的旁白。这也是我喜欢前面不喜欢后面的原因。

Aerial shots have been a Hollywood staple since the beginning of the film industry: first via airplanes, then with the more versatile helicopter. There’s some debate over the first helicopter shot, though the film critic Nick Pinkerton traces it to Nicholas Ray’s 1948 filmThey Live by Night. In his recent consideration in Film Comment, Pinkerton writes, “The helicopter shot is, today, ubiquitous” and “a rank cliché.” When Hitchcock panned a cityscape in the opening shot of 1960’s Psycho, he was able to evoke a sense that evil lurked behind every half-pulled window shade. Soon, however, the hovering-copter shot became standard in every big-budget film; think of all the movies that start with a camera swooping over a city skyline. But, as Pinkerton writes, “I have not given up hope that the helicopter aerial shot may yet do new, great things for cinema.”
That day may have arrived. Aerial shots are much more accessible and versatile now, thanks to drones. The FAA cleared private drones for commercial use this past September, and they’re cheaper than helicopters, costing roughly $5,000 a day rather than the latter’s $15,000-to-$20,000 day rate.
Aesthetically, too, the aerial shot is transforming. Post-9/11 and post-NSA, the aerial imparts a new kind of unease, a more ambient dread. This new take is employed ingeniously by, for example, Christopher Nolan in 2008’s The Dark Knight, which opens on the Gotham cityscape over the sound of a ticking clock before we see a skyscraper window explode. What was once the filmmaker’s version of air supremacy now conveys pervasive vulnerability.




这是文章的中间一段，是关于航拍镜头这一技术的交代，我的翻译不够准确，自己也就看个七七八八，实在没脸翻给大家看，如果有需要再说

This, in part, informs the use of aerials in True Detective — as Bluck says, “There’s a sense of menace they can impose.” In this case, the menace comes from the landscape itself — the endless roadways that seem to promise progress but deliver its opposite. “With the freeways, you’re free to choose a direction but not free to choose your choices,” Pizzolatto explains, then adds, “But if that’s all nonsense, and it might be, I think they’re just interesting transitional shots.”
*This article appears in the July 13, 2015 issue of New York Magazine.


文章的结尾了，
摄影导演就真探中的远景镜头说到，”它能施加无形的威慑。“在这里，它的威慑来自景观本身——没有尽头的道路上似乎有着向前的希望，但现实总是背道而驰。”在高速公路上，你有选择方向的权利，却不能自由选择你的选择。“nic解释并补充：”可能这一切都是胡说八道，但至少这是一个有趣的过渡镜头。“
With the freeways, you’re free to choose a direction but not free to choose your choices,
尼玛，这句话放在真探里面，绝对又是一个金句啊。

重新去看远景的时候看到这个段落，随手截一张图，真探的构图，美的