《聚焦》：一窺真實的新聞業(yè)
The Oscar-winning film Spotlight doesn’t contain any heart-racing confrontations or gruesome flashbacks like most crime mysteries do. But through its detailed, step-by-step depiction of a real-life investigation, the movie delivers a stronger wallop than most films of its genre.
奧斯卡最佳影片《聚焦》沒有任何讓人心跳加速的戲劇沖突，也沒有像大多數(shù)犯罪懸疑片一樣采用驚悚的倒敘。但是對現(xiàn)實調(diào)查的細節(jié)描繪和遞進式敘述讓它比同類電影更具沖擊力。
Directed by Tom McCarthy, the movie dramatizes what happened when the Boston Globe newspaper decided to take on one of the city’s most powerful institutions: the Catholic Church. Back in 2002, aquartet of investigative reporters uncovered rampant child abuse among Boston’s Catholic priests, as well as the church’s efforts to whitewash their crimes.
該片由湯姆•麥卡錫執(zhí)導(dǎo)，故事改編自真實事件：《波士頓環(huán)球報》決定揭露全市勢力最大的組織之一——天主教會的丑聞。2002年，一個調(diào)查記者四人小組揭露了波士頓神職人員猖狂褻瀆兒童的行為，而教會卻為他們的罪行洗白。
Most blockbusters focus on a single, central protagonist – a messiah-type figure who ultimately saves the day. There again, Spotlight rejects convention. Its large-group cast accurately reflects the collaborativedynamic of newsroom staff.
多數(shù)大片都聚焦一個主角——最終力挽狂瀾的救世主。而《聚焦》偏偏不隨大流。該片啟用了大量演員，恰如其分地反映了新聞編輯部人員的團隊協(xié)作。
The lead characters make the decision to investigate the pedophile priests together. Despite pressure from the church and certain dissatisfied witnesses, they connect the dots and publish their findings for all to see. “This is a film about the methodical process of reporting,” senior associate editor David Sims commented in The Atlantic.
主角們決定一起調(diào)查戀童癖神父。他們不顧教會和一些憤怒目擊者的壓力，收集和找出了線索之間的聯(lián)系，并將其公之于眾。“這部電影反映了報道的系統(tǒng)性過程，”資深副主編大衛(wèi)•西姆斯在《大西洋月刊》上評價說。
In this digital era, the value of news is increasingly measured by the amount of articles each publication can produce and the number of clicks each article generates. Movies like Spotlight harken back to abygone era when investigative journalists could spend two years on a single project. The film evokesnostalgia for the slow pace of print media, and the brilliance it could produce.
在數(shù)字化時代，出版刊發(fā)文章的數(shù)量以及每篇文章的點擊量逐漸成為衡量新聞價值的指標(biāo)。而像《聚焦》這樣的電影則把我們拉回到了過去的年代，那時調(diào)查記者為了調(diào)查一個案件可以花上兩年的時間。這部電影還喚起了我們的懷舊之情，懷念慢節(jié)奏的平面媒體和它可能產(chǎn)生的華彩。
Spotlight also does its bit to chip away at the cynicism building up around journalism in pop culture. Its journalists are noble, self-sacrificing reporters who risk their own safety to expose corruption. By contrast, a number of recent movies and TV shows have depicted journalists – especially female journalists –as unscrupulous and unprofessional.
《聚焦》還弱化了流行文化中大眾對新聞業(yè)的鄙夷和嘲諷。電影中的媒體人是高尚的，他們是有自我犧牲精神的記者，不顧個人安危去揭露腐敗。相反，現(xiàn)在一些電影和電視劇則把記者，特別是女記者塑造成沒有道德和職業(yè)素養(yǎng)的人。
For instance, in the Netflix series House of Cards, reporter Zoe Barnes (Kate Mara) sleeps with a congressman for information. In the movie Thank you for Smoking, journalist Heather Holloway (Katie Holmes) frames a lobbyist by reporting statements said off the record. And then there’s the fictional news anchor from Anchorman, Ron Burgundy (Will Ferrell), who desperately tries to sleep with his new female rival.
比如，網(wǎng)飛公司的電視劇《紙牌屋》中，女記者佐伊•巴恩斯(凱特•瑪拉飾)和國會議員上床套取信息。在電影《感謝你抽煙》中，記者希瑟•霍羅韋(凱蒂•赫爾姆斯飾)利用非正式的私人言論陷害了一名游說客。之后在電影《王牌播報員》中，虛構(gòu)的新聞主持人朗•伯甘蒂(威爾•法瑞爾飾)則挖空心思想和自己的女性競爭者發(fā)生關(guān)系。
“We can laugh these kinds of stereotypes off as campy clichés,” Lindsay Zoladz wrote on the pop culture site Vulture, “but they linger in the cultural imagination.”
“面對這些裝腔作勢的刻板偏見，我們可以一笑了之，”林賽•佐拉斯在流行文化網(wǎng)站Vulture上寫道，“不過它們卻一直在我們的文化想象中揮之不去。”
The movie Spotlight not only challenges misconceptions about journalists, but also pays homage to the profession and its values. “Spotlight is a defense of professionalism in a culture that increasingly holds it in contempt,” wrote The New York Times film critic A.O. Scott.
《聚焦》不僅挑戰(zhàn)了我們對記者的誤讀，更是向記者這一職業(yè)及其價值的致敬?！都~約時報》電影評論員A.O.斯科特寫道：“在記者這個職業(yè)越來越被鄙視的文化背景下，《聚焦》維護了它的專業(yè)精神。“
