原创《《星际穿越》：一步荒谬的史诗》
该文是星际穿越方面有关硕士论文范文和《星际穿越》和荒谬和史诗类硕士学位论文范文。
由克里斯托弗·诺兰编剧并执导的2014科幻史诗巨制《星际穿越》自上映以来,凭借逆天好口碑成功赢得中国影迷的青睐.“虫洞”、“黑洞”、“时间膨胀”,“五维空间”等各种冷僻物理名词也纷纷成了影迷们讨论的热词.本期,就让我们一起走进《星际穿越》,看影评人如何评价这部“烧脑神作”.
For simpler times back in the spring, when True Detective was on the air and Matthew McCo-naughey’s Rust Cohle was explaining to us that time is “a flat circle.” McConaughey has now retumed for director Christopher Nolan’s sci-fi opus Interstellar, and over the intervening months, the concept of time has only become more perplexing-one dimension out of at least five that make an appearance in the movie. Indeed, a modicum of perplexity may be the pnce of admission： Though Interstel/ar is quick to cite Einstein’s theories of relativity-celebrated theoretical physicist Kip Thome acted as a consultant and executive producer-it rarely slows down to explain how they apply.
In any case, interstellar is quite adamant and here l’m certain the movie is not channeling Einstein-that however many dimensions may exist, love trumps them all. Love, we are instructed variously, is “quantifiable,” “must he a purpose,” and is the one thing that transcends fme and space.
If this sounds like a hokey premise for a story about Earthly apocalypse and intergalactic exodus, that’s because it is one. But this is hokiness of uncommon scale and grandeur. Interstellar may be a preposterous epic, but it is an epic nonetheless. For years, the project was attached to Steven Spielberg, and these roots are very much in evidence. Envision a movie as Spielberg_y as any you’ve ever seen-all the craftanship, all the sentimentality-add in a concluding twist reminiscent of M. Night Shyamalan, and you’II he a pretty good sense of what to expect.
The movie opens with a series of elderly commentators recollecting their youth in a rural America othered6 by dust： dust covering bookshelves, dust choking crops, dust accumulating so insistently that you had to put the plates facedown when setting the table. Steinbeck’s dust bowl？ No, a laptop soon alerts us that this is a dust bowl yet to come. The exact cause of the environmental catastrophe is never clarified, though it is clearly something we brought upon ourselves. The threat, moreover, is existential： The Earth is slowly suffocating itself. The last wheat harvests are long gone, and the last okra harvest is around the corner-though, according to taste, one might consider this a feature rather than a bug. Com remains, but how long can it sprout from land so doomed？
Among the farmers tilling this egregious soil is a former NASA pilot named Cooper （McConaughey）, single fatherto a down-to-earth son and a head-in-the-clouds daughter. The latter, Murph, believes that a poltergeist is haunting the overstuffed bookshelf in her bedroom and, in her mysticoscientiflc way, sets out to prove it. She also gets in trouble for bringing an old textbook to school, one that has not been“corrected” to explain that the 20th-century Apollo missions were merely a hoax to bankrupt the Soviets. Bumed once by science, the nation as a whole has tumed inward, backward.
But not so Cooper. “We used to look up at the sky and wonder at our place in the stars,” he lectures his father-in-law （played with curmudgeonly nonchalance by John Lithgow）. “Now we just look down and worry about our place in the dirt.” Fortunately for Cooper, he is not alone in this view. The NASA for which he once flew, long believed shuttered, has in fact gone underground as exactly the kind of covert government outfit. Moreover, it just happens to be in need of a topnotch pilot to complete its ongoing secret mission of extraterrestrial exploration and colonization.
As luck would he it, the fellow running the show tums out to be an old teacher of Cooper’s, Professor Brand （Michael Caine）, who explains that decades earlier an intergalactic wormhole was created near Saturn by mysterious five-dimensional beings who evidently wanted to help humankind find a new home. Initial manned probes were sent to several planets on the far side, and the plan is for Cooper to fly a larger ship called the Endurance shaped vessel reminiscent of the space station in 2001：A Space Odyssey-through the wormhole to determine which of those worlds might prove fittest for human habitation.
Accompanying him will be three other human crew- members, one of whom is Professor Brand’s daughter （Anne Hathaway） and two of whom are not （Did Gyasi and Wes Bentley）. Also along for the ride will be two robots that seem to he wandered in from another movie altogether. Cooper of course accepts the mission. It pains him cruelly to lee his kids, especially the heartbroken Murph, who refuses to see him off.
I won’t say much about what unfolds once they’re aloft. But the novel obstacle that Cooper and his fellows must over-come, as I hinted earlier, is time itself. lt’s not merely that the clock is running out for life on Earth, it’s that due to a property called gritational time dilation （predicted by Einstein and since confirmed experimentally）, the clock is running far more quickly back home than it is for the astronauts. When the latter land on a planet orbiting a black hole, for instance, a single precious hour on the surface is equal to seven years’ time on Earth. Before leing his daughter, Cooper had joked that when they met again they might be the same age-and, in-deed, soon enough they are, with Jessica Chastain inhenting the role of the grownup Murph.
McConaughey is entirely solid as the conflicted dad tumed space jockey, and Caine could pull off the uncular authority of the elder Dr. Brand in his sleep. Hathaway, however, is an awkward fit as Dr. Brand fille, too loose at times and too tight at others. She’s certainly not helped by plot developments that quickly render her the Girl Who Needs Rescuing and, later, he her argue for making decisions about the survival of the human race based on whom she wants to canoodle with. Yes, the movie itself may ultimately come to the conclusion that love conquers all, but making Hathaway an eariy advocate for this thesis does not exactly bolster her scientific credentials.
There is much agonized familial melodrama on display throughout： a father （McConaughey） who’s left his daughter behind on Earth； a daughter（Hathaway） who’s done the same with her dad. Difficult choices are made with regularity, and there is much discussion of our obligations to our children, to ourselves, and to humankind as a whole. Lest there be any doubt of how seriously the film treats these questions, they are often accompanied by deafening swells of the Hans Zimmer score and repeated invocations counted at least four of the Dylan Thomas poem “Do not go gentle into that good night.
This solemnity of tone coexists uncomfortably with a number of plot twists that defy any but the most generous credulity. To cite just one, it tums out that the answers to the riddle that might se humanity （the solution to grity） are found both in the childhood bedroom in which Murph once detected a poltergeist and in the core of a black hole galaxies away, two unlikely locales that are in fact.
Despite its shortcomings, Interstellar is a movie worth seeing. Yes, it may be tendentious at times and absurd at others. But the scope and ambition of Nolan’s vision are refreshing in this era of safe bets, of sequels and spinoffs and franchise-hopefuls.
在春日的单纯时光里,电视台在播出电视剧《真探》的时候,马修·麦康纳饰演的侦探拉斯特·科勒在此剧中向我们解释时间是“扁圆的”这一科学推断.现在,麦康纳回到了导演克里斯托弗·诺兰的科幻电影作品《星际穿越》之中.在这两部作品相继推出之间的几个月里,时间的概念只是变得越来越让人费解——电影中表现了至少五维时间中的一维时间.确实,来一点点令人困惑的东西可以让这部电影的票价看上去更值：虽然《星际穿越》很快引用了爱因斯坦的相对论——著名理论物理学家基普·斯隆担任了影片的顾问和监制——但它几乎没有停下来解释一下电影里是如何应用这一理论的.
但不管怎样,《星际穿越》有一点是坚不可摧的——而且我敢肯定这部电影没有专注于爱因斯坦的理论——不过,不管存在多少维度,爱情终将战胜一切.这部电影教给了我们不同“维度”的爱情观,诸如：“爱情是可量化的”,“爱情一定有目的”,“爱情是一个穿越时空的东西”,等等.
如果这听起来像是一个关于地球启示录和星际逃亡故事的可笑前提,那是因为它就是如此.但这却是规模宏大、非比寻常的可笑故事.《星际穿越》可能是一部荒谬的史诗,但依旧是一部史诗.许多年来,这个题材非斯蒂芬·斯皮尔伯格莫属,证据非常明显.想象一下一部在所有的制作技艺与影片所包含的所有情感上与你曾看过的斯皮尔伯格式的电影相似,再加上让人想起M.赖特·萨亚马兰的转折性结尾,你就能精确地感到这是一部什么样的影片了.
影片开场的时候,一群上了年纪的评论员回忆起他们在被尘埃笼罩的美国乡村所度过的青年时光：布满灰尘的书架、被灰尘包围的庄稼,灰尘堆积得如此密集,以致于你在摆桌子的时候不得不用盘子往下盖住菜盘.这是斯坦贝克作品中的风沙侵蚀区吗？不,一台笔记本电脑提醒我们这还不是风沙侵蚀区.环境大灾难的确切原因从未被澄清.尽管,很显然这是我们自己造成的.而且,威胁是存在的：地球正在缓慢地使自己窒息.最后一次小麦丰收已是很久以前的事了,最后一茬秋葵丰收在即——虽然,根据个人口味的不同,有人可能认为这是一个特色而不是一个错误.玉米依然存在,但在这命运多舛的土地上,要历经多久,才能生根发芽？
在这片恶劣的土地上耕作的农夫之中,有一个是美国国家航空航天总局的前飞行员库珀（麦康纳饰）.他是个单身 父亲,有一个踏踏实实的儿子和一个整天胡思乱想的女儿.他的女儿墨菲相信一个“吵闹鬼”总在她卧室里塞得满满的书架上出没,于是,她着手以神秘的科学方式去证明它的存在.她同时因为把一本旧的教科书带到学校而陷入麻烦,这本书仍然没有改正错误,仍然解释说20世纪的阿波罗登月任务只不过是诱使苏联崩溃的一个骗局而已,由于苏联被美国的科学成就击败,整个国家走向封闭、落后.
但库珀不是这样.“我们过去常常仰望天空,并且惊叹我们在群星中的位置,”他对他的岳父（由约翰·利斯戈扮演,带着一副乖戾冷漠的表情）讲道,“现在我们只往下看,并为我们处在尘埃中的地球担心.”对库珀而言,幸运的是,他不是唯一持此观点的人.他曾经为之服务的美国国家航空航天总局,长久以来,人们以为它已经关闭,但实际上它已作为隐蔽的政府机构而转入地下.而且,它刚好需要一名顶尖的飞行员去完成一项正在进行的秘密任务：探索并开拓地球外的世界.
巧合的是,主管这一行动任务的正是库珀以前的老师,布兰德教授（迈克尔-凯恩饰）.他向库珀解释道：数十年前,在土星附近一个神秘的五维生物曾创造了一个星际虫洞,而且很明显,他要帮助人类找到新的家园.美国国家航空航天总局已经发射了几颗最初的载人探测器到远处的几个星球去寻找,而目前的这个计划要求库珀驾驶一艘叫做“忍耐力”的巨型飞船——一个圆环状的让人想起电影《2001年环游太空》中空间站的飞船——穿越虫洞去判定这些星球中哪一个更适合人类居住.
和他同行的有三名船员,其中一位是布兰德教授的女儿（安妮·海瑟薇饰）.同时来凑热闹的还有两个似乎是从另一部电影里一起游荡过来的机器人兄弟.库珀当然接受了这项任务.即将要与孩子们分别让库珀十分痛苦,尤其是因悲痛而拒绝前来与他告别的墨菲,更让他感到痛苦万分.
关于电影在他们乘坐的飞船升空后所展示的一切,我不用说太多.但正如我早先暗示的那样,库珀和伙伴们必须克服的新困难将是时间本身.这不仅仅是对于地球上的生命而言,时间即将耗尽,而且由于一个叫引力时间延缓的物理待性（爱因斯坦曾预测过这一现象,后经试验证实）,对于宇航员来讲,地球上的时间过得要比太空中的时间快得多.例如,当宇航员在环绕黑洞的轨道飞行的某行星上着陆时,在这颗星球表面上珍贵的一小时相当于地球上的7年光阴.因此,库珀在离开他女儿之前,曾开玩笑地说,他们再次见面时,可能就是同龄人了——而事实上,随着杰西卡-查斯顿扮演的成年墨菲出场,很快他们就真的同龄了.
麦康纳的表演很扎实,从内心矛盾的父亲转变为太空驾驶员,角色驾驭自如.凯恩也可轻而易举地圆满完成年长的布兰德教授既慈爱、又权威的形象.但是,饰演布兰德教授女儿的海琵薇却是一个尴尬的选择,她的表演有时太松弛,有时又太紧.她肯定没有受益于剧情发展,剧情很快使她成为一个需要救助的女孩,接着又让她陷入她选择的男人将决定人类生存的纠结抉择.是的,影片本身可能最终导致一个结论：爱情战胜了一切.但让海琵薇早早地就服务于这个主题,并不能支撑她作为科学家的角色身份.
影片从头到尾展示了很多痛苦的家庭情节剧式的儿女情长：一个把女儿留在地球上的父亲（麦康纳）和一个把父亲留在地球上的女儿（海瑟薇）.人们总要反复做出困难的选择.还有很多我们对孩子、对我们自己以及对整个人类社会的责任的问题需要讨论.然而,为了不让人们怀疑这部电影是如何严肃地对待这些问题的,影片里经常伴有汉斯-季默（好莱坞电影配乐大师——译者注）式震耳欲聋、逐渐增强的音乐,以及对迪兰-托马斯诗句的反复吟诵——我数了一下至少有四次——“莫要温柔地进入那美妙之夜”.
与庄严调子不和谐同时存在的是许多连最容易轻信的人都不会相信的剧情反转.仅举一例,到头来,关于如何解救人类这一难题（关于如何克服地心引力的解决方案）的答案竞既在墨菲曾经侦察“吵闹鬼”的儿童卧室里被找到,又在一个遥远的黑洞星系的中心被发现,而事实上,这是两个都不太可能找到答案的地方.
尽管《星际穿越》存在许多缺点,但它仍然是一部值得一看的电影.是的,它可能有时是有争议的,有时又是可笑的,但是在这个充斥着老套故事、电影续集、影片衍生产品和有望获得特许经销权的电影产品的时代,诺兰制造视觉奇观的规模和抱负还是让人耳目一新.
星际穿越论文参考资料：
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