《聚焦》：一窺真實(shí)的新聞業(yè)

導(dǎo)讀：沒(méi)有讓人心跳加速的沖突，沒(méi)有懸念迭起的倒敘，沒(méi)有力挽狂瀾的英雄，卻徹底征服了奧斯卡評(píng)委。奧斯卡最佳影片《聚焦》就是這樣一部電影，它為我們撥開(kāi)偏見(jiàn)和誤解，讓我們一窺新聞業(yè)最本真的樣子。

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(méi)有任何讓人心跳加速的戲劇沖突，也沒(méi)有像大多數(shù)犯罪懸疑片一樣采用驚悚的倒敘。但是對(duì)現(xiàn)實(shí)調(diào)查的細(xì)節(jié)描繪和遞進(jìn)式敘述讓它比同類(lèi)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(shí)事件：《波士頓環(huán)球報(bào)》決定揭露全市勢(shì)力最大的組織之一——天主教會(huì)的丑聞。2002年，一個(gè)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(huì)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(gè)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(tuán)隊(duì)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(huì)和一些憤怒目擊者的壓力，收集和找出了線(xiàn)索之間的聯(lián)系，并將其公之于眾。“這部電影反映了報(bào)道的系統(tǒng)性過(guò)程，”資深副主編大衛(wèi)•西姆斯在《大西洋月刊》上評(píng)價(jià)說(shuō)。

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(shí)代，出版刊發(fā)文章的數(shù)量以及每篇文章的點(diǎn)擊量逐漸成為衡量新聞價(jià)值的指標(biāo)。而像《聚焦》這樣的電影則把我們拉回到了過(guò)去的年代，那時(shí)調(diào)查記者為了調(diào)查一個(gè)案件可以花上兩年的時(shí)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(duì)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(gè)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(méi)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(guó)會(huì)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(shuō)客。之后在電影《王牌播報(bào)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(jìng)爭(zhēng)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(duì)這些裝腔作勢(shì)的刻板偏見(jiàn)，我們可以一笑了之，”林賽•佐拉斯在流行文化網(wǎng)站Vulture上寫(xiě)道，“不過(guò)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(duì)記者的誤讀，更是向記者這一職業(yè)及其價(jià)值的致敬?！都~約時(shí)報(bào)》電影評(píng)論員A.O.斯科特寫(xiě)道：“在記者這個(gè)職業(yè)越來(lái)越被鄙視的文化背景下，《聚焦》維護(hù)了它的專(zhuān)業(yè)精神。“