《赝品》:如何构建视频论文的结构
日期:2022-10-19 15:25

(单词翻译:单击)

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Hi, my name is Tony and this is Every Frame a Painting.

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大家好,我是托尼,这里是电影艺术评价Da-d9WukZ]a;TX@

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So this channel's been going well, which means it's about time...

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这个频道运营得很顺利,这意味着是时候了……

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-Time for a confession?

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-是时候忏悔了吗?

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Yeah, time for a confession.

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是的,是时候忏悔了Zluub%1jXq

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I have stolen more ideas from this film than from any other.

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我从这部电影中学到的东西比从其他任何一部电影中都多+uwz(Hu3Q7w]&n2%;

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-F for Fake.

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-赝品M1E*u(.f)i_f-^Krly

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-F for Fake.

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-赝品PBGW*xIbzt0e=0S#DG@

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-F for Fake.

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-赝品v2ML|ycoTLdp3T3[8

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-Ladies and gentlemen, by way of introduction,

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-女士们,先生们,作为介绍,

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-this is a film about trickery...

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-这是一部关于诡计……

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-and fraud...

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-和欺诈……

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-about lies.

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-以及谎言的电影2G-aU[ktTY)CxlD.

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Wait, sorry, I'm doing this wrong.

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等等,对不起,这个开场不对Ay.Y8K]xNLzDS2Ff=Q)

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Can we start over?

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我们能重新开始吗?

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This is an essay film by Orson Welles.

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这是奥森·威尔斯的一部论文电影[jFO9;2uB2h]zhQH@H=

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It's called F for Fake.

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它的名字是《赝品》0v)@wu;s1*d[7T

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And it's one of my personal bibles.

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这是我的个人圣经eQGJ9H~.;,PF~dA

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Everything I know about editing, I learned from this film.

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我对剪辑的所有知识,都是从这部电影中学到的n^16iu3Kv[Y

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But today, I want to talk about one basic thing: Structure.

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但今天,我想谈谈一个基本的知识:结构|x~b5mUc%Bc@

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-We found out this really simple rule that maybe you have all heard before,

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-我们发现了一个非常简单的规则,也许你们以前都听说过,

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-but it took us a long time to learn it.

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-但要花很长时间才能参透@nf|XrjJrp!Wsr

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When you're structuring a video essay, there's one thing you really want to avoid.

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当你在规划一个视频论文时,特别要避免一种情况i7teDapHx1U

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-I think that's about it.

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-就这些了B&1]On8K2y%K

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-And then?

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-然后呢?

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-No, that's it.

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-没了,就这些0rCBTKTZ+(j5d!BeBT

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-And then?

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然后呢?

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-Then nothing else cuz I'm done ordering, OK?

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-然后就没有别的了,因为我已经点完了,好吗?

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-And then?

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然后呢?

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-If you tell a story that's and then, and then, and then,

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-如果你讲一个故事,里面全是然后,然后,然后,

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-you're in big trouble.

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-你麻烦就大了nTH_|OC;3nH@w)k(

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This is the No.1 mistake I make in my own work.

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这是我在自己的作品中犯的最大的错误%HpYwI@JpjY~+u5M

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Like here.

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就像这里|IFzGIW5q0-K;DvF@a]

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Watch how repetitive this is.

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看看这里的重复_BQcfx6JCRAzg

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-Choosing to take the money.

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-选择接受这笔钱(WFK!^TVwRe!c;_4o%F=

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-Choosing not to fight back.

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-选择不反击Ut4k&UVl]R0OcUv,u8u2

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-Choosing to hide their emotions.

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-选择隐藏自己的情绪cej5iI)XD&x*

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-Choosing not to trust someone.

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-选择不信任某人RTKs-C157dYCb0JGa^T

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-Choosing to wait out the discomfort.

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-选择等待不适结束5YHMNk7AS-rpN

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-Choosing to get...

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-选择获取……

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This is a list you could put in any order.

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这是一个可以任意排列的列表SIuTMB*q-,ADFKpf)t+

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That's why it's so boring.

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这就是它十分无聊的原因|HR4,p;pPKho9L

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-What should happen between every beat that you've written down...

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-你应该在各段之间放置的连接词……

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-is either the word THEREFORE or BUT.

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-要么是“因此”,要么是“但是”V4%2;#BBp3~E_0yp7=;0

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-So what I'm saying is you come up with an idea that's like, this happens...

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-所以我要说的是,你提出了一个想法,例如,发生了一件事……

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-What are those?

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-那是什么?

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-My pubes.

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-我的阴毛m8j_SAg~3eB7.D4#=E9,

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-What?

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-你说什么?

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-I got em from Scott Tenorman.

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-我从斯科特·特诺曼那里拿到的N]u2hB;eL]BS

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-and THEREFORE this happens.

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-因此,又发生了另一件事uqLK8OZJUY4

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-Cartman, you don't buy pubes.

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-卡特曼,阴毛不是买的H.jP;Dj)(k7phl[0XJ

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-You grow them yourself.

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-是你自己长的8)^R;AwGbbJ)

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-You're saying pubes are worth nothing?

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-你是说阴毛一文不值?

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-Yeah.

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-是的

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-BUT this happens...

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-但,那件事发生了……

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-And I'll give you the pubes.

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-然后我把阴毛给你I0oGMHvB@C!1XS0Ah

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-Sweet.

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-太好了H8ff5PMK~XaQv

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-THEREFORE this happens.

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-因此,这件事发生了ZUfshK%14L1~j0hBC

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-Aw goddamn it!

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-该死的!

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So throughout this movie, Orson Welles does the exact same thing.

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奥森·威尔斯在整部电影中都是这样做的JR=NnHe5lpUR,zrd@J

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Except he doesn't connect scenes, he connects thoughts.

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他不是在连接场景,而是在连接思想MJ!dJIxT~)cFy%A38,

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-You're a painter.

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-你是个画家bjF&[EmhR5!w

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-Why do you want people to do fakes?

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-为什么你想让人们做赝品?

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-Because fakes are as good as the real ones and there's a market and there's a demand.

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-因为赝品和真品一样好,有市场就有需求qe%[WiJC9V,HGzJOx

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-If you didn't have an art market, then fakers could not exist.

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-如果艺术市场不存在,那么赝品就不存在ZRmMH~(Zy_G%J*,uXV

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Even though this movie is an essay, each moment has the connective logic of a South Park episode.

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尽管这部电影是一部论文电影,但每个片段都有和《南方公园》一样的连接逻辑neV.cjFL@0.I)Q^B

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The second rule in this movie is to have more than one story, moving in parallel.

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这部电影的第二条规则是存在不止一个故事,多线并行Lp-.iB%!o@c

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-I'll quote Hitchcock again.

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-我要再次引用希区柯克的话E~pSCo%V#w

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-He said the name of making movies is meanwhile back at the ranch.

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-他说,电影制作的真谛是“与此同时……有什么事情悄悄地发生了+v3@3*jgzJby!Mj。”

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-He's absolutely right.

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-他说的完全正确]2V+FCjd-H,Pru0k

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-You want to have two things going.

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-你要让两件事同时进行b4@.n.y&a*NX7cO9(I

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-You reach the peak of one, you go to the other.

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-其中一件事到到高潮部分,然后你就转去讲另一件事r!@lp~]Rb1_]c=Tb

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-I hope you know what you're doing.

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-我希望你知道自己在做什么

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-You pick the other up just where you want it.

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-你开始讲另一个故事,讲完你想表现的内容TJ6#xSHD^bMU

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-When it loses interest, drop it.

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-当它到了没什么意思的地方,就再转换镜头g2C,n@Zez[es@qoCC

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-Meanwhile back at the ranch.

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-与此同时……有什么事情悄悄地发生了b3M-zlB+8NG@oW#

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How does this work in an essay film?

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这在一部论文电影中是如何实现的?

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Well, let's say you have two stories.

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假设你现在有两个故事V8IBl,sAqa!OMkcXmY

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Let one of them build up.

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让其中一个逐渐发展W.aP8Yb)3(T#K~r23

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When it reaches peak interest, switch to the other.

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当它达到高潮时,切换到另一个故事tDREll7Fx%!cC

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Let this one build.

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让这个故事逐渐发展cN0jrl9t0!cTIEV

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And when this gets to the top, go back to the first.

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当这件事达到高潮时,再回到第一个故事^65CJpYQ%cAMo+6A

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Simple, right?

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很简单,对吧?

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Except F for Fake doesn't just have two things.

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《赝品》不只讲了两个故事fU(A#iKLvj0[=UV

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There's also stories about Orson Welles, Howard Hughes, a woman named Oja, and even the making of this movie.

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还有关于奥森·威尔斯、霍华德·休斯、和一个名叫奥贾的女人的故事,甚至还有这部电影制作的故事YdK5]g(4RA

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And by building each story carefully, Welles can jump between all six of these without ever losing the audience.

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通过精心构建每个故事,威尔斯可以在六个故事之间跳跃,而不会让观众感到迷惑KG@8VD|bmeV*J

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So when I'm making a video essay, this is what's going through my head.

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所以当我做视频论文时,这是我脑海中浮现的想法|A]Rb]wpCAgSokqZM]lv

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-And then?

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然后呢?

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-No "and then"!

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-没有然后!

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-And then?

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然后呢?

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-No "and then"!

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-没有然后!

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-And then?

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然后呢?

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-No "and then"!

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-没有然后!

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And I got all of that from watching this film.

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这是我从《赝品》中学到的;(=0b0^,T!=0SMlK,K3z

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Which more than anything has taught me: it's not about what you get.

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它教给了最重要的一课:重要的不是你有什么UX22DO_Z.[W(&^.=Q;

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It's how you cut it and what comes out the other end.

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是你如何剪辑它,以及最终产出的结果是什么y+Z7G1QEKS-rtRsu

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Remember, video essays aren't essays.

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记住,视频论文不是论文|m[|dM%.y%=

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They're films.

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而是电影@KDVpJhpgW

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So you want to structure and pace them like a filmmaker would.

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所以你要像电影制作人一样安排电影的结构和节奏(QhioKMzH)pD3_o3q9;

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Therefore and But.

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“因此”,和“但是”]I)M*z%dPG4Ddl

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Meanwhile, back at the ranch.

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与此同时……有什么事情悄悄地发生了B^p]seh^h0ajAjh&a

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And if you don't believe me, at least trust Orson Welles who somehow figured this out over 40 years ago.

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如果你不相信我,至少相信奥森·威尔斯,他在40多年前以某种方式参透了这一点WWNbH~!4%lg6;S[mJj

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-Why not?

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-有何不可?

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-I'm a charlatan.

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-我是个江湖骗子~6S[f_qy0dI)[l

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But whatever.

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但不管怎样3@j#&45402W.omj

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Let's wrap up this essay.

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让我们把这篇论文写完3ox+Dqk_zyAooW!qF1

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-Now it's time for an introduction.

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-现在是自我介绍的时候了s5ewdg9dEuw

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Hi, my name is Tony and this concludes Year One of Every Frame a Painting.

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大家好,我是托尼,这是电影艺术评价栏目走过的第一年xURqe;K7x,HW

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I'd like to thank you for watching.

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感谢您的收看kENZEY9J_EX0M

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-and wish you all a very pleasant...

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-并祝大家都有一个愉快……

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-good evening.

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-而美好的夜晚N|n(t;GTcDki]jZOG.9

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