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Chernobyl, With Helping Hand From TV, Becomes an Unlikely Tourism Magnet HBO電視劇《核爆家園》加持 車諾比掀觀光潮

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讀紐時學英文
2019/07/26 第271期 訂閱/退訂看歷史報份
 
 

紐時周報精選 Chernobyl, With Helping Hand From TV, Becomes an Unlikely Tourism Magnet HBO電視劇《核爆家園》加持 車諾比掀觀光潮
Of Comic Books and Couture 藝術逐漸平易近人 漫畫和時裝的異業結合

紐時周報精選
 

Chernobyl, With Helping Hand From TV, Becomes an Unlikely Tourism Magnet HBO電視劇《核爆家園》加持 車諾比掀觀光潮
文/Iliana Magra
譯/陳韋廷

電視劇加持 車諾比掀觀光潮

When a nuclear plant exploded in northern Ukraine in April 1986, Soviet authorities went to great lengths to control information about the disaster — even cutting off private telephone conversations when the word Chernobyl was used.

當1986年4月烏克蘭北部一座核電廠發生爆炸時,蘇聯當局竭盡全力管制災難相關消息,甚至在私人電話交談中提及車諾比一詞時,電話都會被切斷。

Now, in a strange turn more than three decades after the meltdown, the exclusion area around Chernobyl is gaining a following as a tourism destination, apparently propelled by the popularity of a TV miniseries about the blast that was broadcast in the United States and Britain last month.

而如今,在這起核爐心熔毀事故發生30多年之後,情況卻有了奇特的轉變,車諾比周圍的隔離區正成為吸引大批遊客的觀光勝地,顯然是拜上月在美英兩國播出、有關此一核爆事件的迷你電視劇集大受歡迎所賜。

The miniseries, HBO’s “Chernobyl,” fictionalizes the events in the aftermath of the explosion and fire at the plant’s Unit 4 nuclear reactor. It has been one of the highest-rated shows on the IMDB charts.

HBO的迷你電視劇集《核爆家園》虛構了第4號核子反應爐爆炸起火後發生的事情,而該劇也是IMDB(網路電影資料庫)排行榜上收視率最高的節目之一。

“The number of visitors increases every day, every week, by 30, 40, now almost 50 percent,” said Victor Korol, the head of SoloEast, a company that gives tours of the site. “People watch TV, and they want to go there and see the place, how it looks.”

“In May 2018, we had 1,251 visitors. Last month, we had 1,860 — a 48 percent increase,” Korol said.

提供參觀該地點行程的SoloEast公司負責人維克多.科洛爾說:「遊客數量每天、每個禮拜都在增加,增加30%、40%,目前幾乎是50%。人們看了電視後,想去實地看看、看它長得啥個樣。」科洛爾說:「我們2018年5月時有1251名遊客,上月有1860人,增加了48%。」

According to figures from the State Agency of Ukraine on Exclusion Zone Management, tourism to Chernobyl has been growing quickly over the past five years. In 2014, a spokeswoman said, the site had 8,404 visitors; in 2018, that number was 71,862. In May 2019 alone, she added, the site had 12,591.

根據烏克蘭國家隔離區管理局的數據,車諾比的觀光在過去五年裡迅速成長。一位女發言人表示,造訪該地的人在2014年有8404人,此一數字在2018年變為7萬1862人。她並稱光2019年5月,就有1萬2591人造訪該地。

Joe Ponte, managing director of Explore, a company that focuses on adventure travel, said that passenger numbers for the firm’s five-day Discover Chernobyl tour had increased fourfold since the miniseries aired in May.

主打冒險旅遊的Explore公司的董事總經理喬.彭特表示,該公司「發現車諾比」5日遊的遊客數量,從迷你電視劇集5月播出以來增加了4倍。

But as tourist numbers increase, so has concern about the behavior of visitors to the site of a disaster that was blamed for thousands of deaths in the following years and whose dire consequences for the environment linger decades later.

但隨著遊客數量增加,人們也開始擔心在災難現場的遊客行為,而這場災難發生後在接下來的年歲裡造成了成千上萬人死亡,而且它對環境的可怕影響幾十年後仍然存在。

Those misgivings burst onto social media this week when photographs emerged that were criticized for disrespecting the victims and the solemnity of the site.

在遭批不尊重受害者與該地點嚴肅性的照片出現後,這些疑慮也隨之在社交媒體上爆發。

One example widely cited was of a woman who shed most of a hazmat suit to pose provocatively in the ghost city of Pripyat, which was evacuated after the accident.

一個被廣泛引用的例子是,一名女性在事故發生後因撤離而成鬼城的普里皮亞季內脫掉大部分的防護衣,擺出具性挑逗意味的姿勢拍照。

The photographs prompted Craig Mazin, the writer and producer of “Chernobyl,” to call on tourists to be considerate to the memory of those who lost their lives or livelihoods.

這些照片促使《核爆家園》編劇兼製片人克雷格·馬欣呼籲遊客,要顧念那些失去生命或生計的人。

 

Of Comic Books and Couture 藝術逐漸平易近人 漫畫和時裝的異業結合
文/Dana Thomas
譯/陳韋廷

漫畫和時裝的異業結合

In 1967, Yves Saint Laurent introduced La Vilaine Lulu, the beastly little star of a comic book — or bande dessinée — that he wrote and illustrated.

1967年,聖羅蘭推出了露露(La Vilaine Lulu),是他自己撰稿並繪製插圖的漫畫集中的惡劣小明星。連環漫畫的法文為Bande dessinée。

Short and squat with a froggy face, wearing a beribboned boater and a scarlet cancan skirt that she would flip up to expose her naked derrière, La Vilaine Lulu terrorized her teachers, schoolmates, passersby — well, everyone, really. A devil child, that Lulu.

露露矮矮胖胖、臉長得像青蛙、頭戴紅緞帶草帽,身穿深紅色康康舞蓬裙,她會掀開裙子露出光溜溜的屁股,老師、同學、路人,不妨這麼說吧,真的是所有人,都讓她給嚇到了。這Lulu是個魔鬼般的孩子。

Now she is a cornerstone for “Mode et Bande Dessinée” (“Fashion and Comic Books”), which its organizers say is the first major exhibition to take a comprehensive look at fashion in comic books and graphic novels, through Jan. 5 at the Cité Internationale de la Bande Dessinée et de l’Image in Angoulême, France.

如今,她是「Mode et Bande Dessinée」(時尚與漫畫)展覽的一大台柱。主辦方表示,這是第一個全面審視漫畫和圖像小說中時尚的大型展覽,展場在法國安古蘭國際漫畫影像城,展至1月5日。

As the fall couture season begins on Monday in Paris, the show is a reminder that, while luxury fashion is often viewed as elitist, it has a way of trickling down commercially and artistically to unexpected yet highly accessible places — and vice versa. Comic-Con International and the elaborate character outfits worn by fans are just one flash of the impact.

隨著巴黎秋季時裝季在周一開跑,這場展覽提醒人們,雖然奢華時尚常被視為屬於菁英人士,它卻有辦法在商業與藝術上逐漸向下滲透到意料之外、但又相當平易近人之處,反之亦然。國際漫畫展跟粉絲們身上所穿精心製作的角色人物服裝,則只是這股影響力的一個印證。

“Jean Paul Gaultier, Jean-Charles de Castelbajac and Thierry Mugler were obviously influenced by B.D.s,” said Thierry Groensteen, the exhibition’s curator,“You see it in Castelbajac’s sweater dresses, with B.D. motifs, and Mugler’s Cat Woman suit, with its cagoule with little ears.”

策展人堤西.葛宏斯汀說:「高堤耶、季恩查理士卡斯提貝艾克與穆勒顯然受到漫畫的影響。你可以看到季恩查理士卡斯提貝艾克的針織毛衣洋裝有著漫畫圖案,以及有小耳朵的連帽薄風衣的穆勒的貓女套裝。」

Two hours by train from Paris, Angoulême is France’s capital of comic books. Each year since 1974, it has hosted the Angoulême International Comic Festival, a four-day event that last year drew more than 200,000 B.D. enthusiasts. The Cité, which opened in 1990, now houses 13,000 original plates and 250,000 B.D.s — the world’s second largest collection of French-language comics (after the Billy Ireland Cartoon Library & Museum at Ohio State University in Columbus).

距巴黎兩小時火車車程的安古蘭是法國漫畫之都。自1974年以來,每年都舉辦安古蘭國際漫畫節,這為期四日的活動去年吸引了超過20萬名漫畫迷。1990年開幕、目前擁有1萬3千件原稿與25萬冊漫畫的漫畫影像城,是世界上法語漫畫藏書量第二多的地方(僅次於美國哥倫布俄亥俄州立大學比利愛爾蘭卡通圖書館暨博物館)。

Pierre Lungheretti, the Cité’s director, said its collection traces the genre, known officially in France as “the 9th art,” from “the birth of comic books in the 19th century to today.”

漫畫影像城負責人皮耶.隆賀堤表示,它的收藏追溯了這個在法國正式名稱為「第九藝術」的文學類別,時間從「19世紀漫畫畫誕生到今日」。

In addition to the museum, which has about 70,000 visitors a year, there is a reference library, two screening rooms, bookstore, a restaurant and residences where as many as 50 comic book authors are invited to spend from three months to four years working on their latest projects.

除了每年約有7萬名參觀者的博物館外,還有1個參考書館、2間放映室、一間書店、一間餐廳,以及邀請50名漫畫家進駐3個月到4年以完成最新創作的住所。

So loved are comic books in France that the Ministry of Culture has declared 2020 the “Année de la B.D.,” with dozens of events scheduled throughout the country.

由於漫畫在法國深受喜愛,文化部已經宣布2020為「法國漫畫年」,並在全國各地排定數十場活動。

 

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