新概念英语第四册 Lesson21：William S.
Hart and the Western
William S. Hart and the early ”Western” film
威廉.S. 哈特和早期限的‘西部’影片
How did William Hart”s childhood prepare him for his acting role in Western films?
William S. hart was, perhaps, the greatest of all Western stars, fro unlike Gary Cooper and John Wayne he appeared in nothing but Westerns. From 1914 to 1924 he was supreme and unchallenged. It was Hart who created the basic formula of the Western film, and devid the protagonist he played in every film he made, the good-had man, the accidental-noble outlaw, or the honest-but-framed cowboy, or the sheriff made suspect by vicious gossip; in short, the individual in conflict with himlf and his frontier environment.
Unlike most of his contemporaries in Hollywood, Hart actually knew something of the old West. He had lived in it as a child when it was already disappearing, and his hero was firmly rooted in his memories and experiences, and in both the history and the mythology of the vanished frontier. And although no p
eriod or place in
American history has been more absurdly romanticized, myth and reality did join hands in at least one arena, the conflict between the individual and encroaching civilization.
Men accustomed to struggling for survival against the elements and Indians were bewildered by politicians, bankers and businessmen, and unhord by fences, laws and alien taboos. Hart”s good-bad man was always an outsider, always one of the disinherited, and if he found it necessary to shoot a sheriff or rob a bank along the way, his early audiences found it easy to understand and forgive, especially when it was Hart who, in the end, overcame the attacking Indians.
Audiences in the cond decade of the twentieth century found it pleasant to escape to a time when life, though hard, was relatively simple. We still do; living in a world in which undeclared aggression, war, hypocrisy, chicanery, anarchy and impending immolation are part of our daily lives, we all want a code to live by.
CARL FOREMAN Virtue and a Fast Gun from The Obrver
New words and expressions 生词和短语
图库的英文
瑜伽功法Supreme
kua
adj.
protagonist
n. 主角
gb是什么意思outlaw
爱词霸沙龙
n. 逃犯，亡命之徒framed
adj. 遭到陷害的vicious
adj. 恶毒的mythology
n. 神话
vanished
adj. 消逝了的absurdlyanything goes
英语作文常用句型
adv. 荒谬地
arena
n. 竞技场在encroaching adj. 慢慢渗入的Indian
n. 印第安人
bewilder
v. 使手足无措
法制伴我成长alien
adj. 外来的
taboo
n. 戒律
disinherit
v. 剥夺...继承权undeclared
adj. 未经宣布的hypocrisy
n. 伪善
chicanery
n. 诈骗新生活大爆炸下载
impending
adj. 迫近的，近在眉睫的immolation
n. 杀戮
code
n. 准则
参考译文
tickling
威廉.S.哈特也许是美国西部电影明星中的佼佼者。他和加里.古柏、约翰.韦恩不同，他只在西部电影中扮演角色。在1914年至1924年期间，他，独霸影坛。正是他制造了西部电影的基调，即在他自己的拍摄的影片中他所塑造的仆人公形象：被认为是坏人的好人，出人意料的高尚的逃犯，诚恳却遭陷害的牛仔或因流言蜚语蒙受嫌疑的司法官。总之，仆人公是一个自相冲突，又与他的拓荒环境相冲突的人物。
哈特与大局部同时代在好莱坞的演员不同，他的确了解西部早期拓荒生活的一些状况。作为一个孩子他曾在西部生活过，当时西部拓荒生活正在消逝。他塑造的英雄人物深深地扎根于他本人的记忆和经受之中，也扎根于有关已经消逝的拓荒生活的历史和神话之中。虽然在美国历没有任何时期或地区像西部拓荒时期那样被荒唐地浪漫主义化了，但神话和事实至少在某一个舞台上共存，也就是存在于个人与慢慢闯入的文明这两者的冲突之中。
习惯与大自然和印第安人作斗争以求生存的拓荒者被政客、银行家和商人搞得晕头转向，最终被圈地、尖律我外来的清规戒律所击败。哈特扮演的被误为坏人的好人总是一个局外人，总是一个被剥夺继承权的人。假如他认为在进展过程中有必要枪击一个司法官或抢劫一个银行，他的早期观众很简单承受，觉得应当原谅他，特殊是当哈特最终战胜了前来进攻的
