Tju

Vienna,1920.TheAustro-HungarianEmpirehascollapsed.PeterPergreturnshomefromtheGreatWar,aftersevenyearsasaRussianPOW.Viennaisexperiencingthemultiplicityofpolitical,socialandartisticfreedom,butalsotheriseofanti-democraticmovements,insecurityandunemployment.Peter,aformerpoliceinspector,feelslikeastrangerinthenewAustrianRepublic.Whilewantingtoleavetown,Peterisconfrontedwiththemurderofoneofhisformercomrades.Hedecidestostayandinsteadbringthekillertojustice.HisallyisDr.TheresaKörner,adeterminedandcool-headedforensicdoctor.Thetwoarelinkednotonlybythiscase,butalsobyadeeper,sharedhistory.Astheirinvestigationprogresses,theyrealisethattheyarenotjustupagainstasystematickiller,whotortureshisvictims,butalsofacedisapprovalandintriguefromwithinthepoliceforce.Thoughdeterminedtosolvethecrime,Peter,harbouringhisownsecrets,increasinglybecomestormentedbyexistentialquestions:Whatistruth?Whatisheroisminthetimeofwar?Andallthewhilehefailstoseethemountingdangerbeforehim.

WillPenny,anagingcowpoke,takesajobonaranchwhichrequireshimtoridethelineofthepropertylookingfortrespassersor,worse,squatters.HefindsthathiscabininthehighmountainshasbeenappropriatedbyawomanwhoseguidetoOregonhasdesertedherandherson.Tooashamedtokickmotherandchildoutjustasthebitterwinterofthemountainssetsin,heag...

本剧集是BBC2台2000年正式推出的以青年人为题材和对象的系列情景喜剧，创意和编剧均由StevenMoffat一人担当。三男三女的主要人物构成很容易使人联想到当时正走红（其实已经在走下坡路）的《Friends》，因此很有不少根本没看过本剧的媒体人士和评论家想当然地将本剧称作英国版的《Friends》，而在那些有幸欣赏过本剧的观众们看来，《Coupling》在情节设定、人物表演、喜剧元素的设计和表现等诸多方面所达到的水平，要比《Friends》高几个档次。相比之下，《Friends》只能说是一部“业余”水平的好作品而已。当然总体来说，英剧的水准本身就高于美剧，这和英剧注意保持创意、编剧一体化是分不开的，美剧的创意一般也就为最初几集编剧，以后主要的编剧工作都是由其它编剧根据最初的角色设定来自由发挥，编剧队伍的构成也是不断变化，老的走新的来，造成美剧情节连贯性差甚至前后矛盾，故事往往缺乏深度，人物性格平面化，缺少发展。这都是题外话了。《Coupling》的主要人物包括优柔寡断、性格不成熟的帅哥Steve，Steve的莫逆之交、举止语言古怪、总也找不到女友的Jeff，头脑简单、外表性感的“donkey”Patrick三位对Porn、特别是lesbianporn非常热中的男士，以及Steve的前女友、神神叨叨、擅用性感作武器的Jane，Steve的继任女友、Jeff的同事、曾经非常“不羁”（包括和Jeff还有Patrick）过的Susan，Susan的莫逆、对衰老和肥胖极度敏感的美容师Sally三位女士。在第一集中，Steve决定“再次”和女友Jane分手，结果却被Jane三言两语引诱到洗手间亲热；Patrick想把和Susan的关系再进一步，却被告知根本不存在什么“关系”；Susan在洗手间碰到匆忙出来买Durex的Steve，向他表示好感，两人订下约会以后Steve钻进隔间继续……。本剧的主线包括Steve和Susan之间逐渐正式起来的关系，Jeff寻找艳遇过程中的种种意外以及后来和上司发展出来的一段关系，Patrick和Sally之间若有若无到若即若离再到情深难舍的感情发展，还有Jane在事业和异性关系中的各种奇事，等等。本剧在情节设计中所达到的精致和完美程度让人叹为观止，而六位当时并不算大明星的青年演员的所展现精湛演技更是具有顶尖演员的水平，无怪乎播出之后立刻走红大洋两岸，在IMDB、AMAZON和BBC网站可以领略到其受欢迎的程度。2002年底，第3季播毕，故事情节基本告一段落。美国NBC看到这部“英国版《Friends》”在英美两地均广受欢迎，觉得正好可以搬来做2004年终于要关张的《Friends》的接班人，于是2003年大张旗鼓地决定翻拍美版《Coupling》。美国的fans本来以为这是件好事，没想到NBC的翻拍愚蠢地采用了全台词照搬的方法，虽然个人没看过，不过也可以想象到有多恶心，结果只播出一集Pilot就因为骂声太大而整个计划搁浅（这点上美国佬是值得学习的，不象中国有些搞影视的骂声越大越要上）。在这里http://www.nbc.com/Coupling/可以看到这个计划的尸体，还有一些彻底走了味儿的剧照。2003年底，本剧获得英国喜剧奖（BCA）最佳电视喜剧奖。BBC已经在2004年正式开拍并播出第4季，不过Jeff这个人物将不再出现，而代之以新角色——经营Sci-Fi书店的Oliver，由RichardMylan扮演。从已经播出的几集来看，应该说在更换主要角色之一的背景下，基本保持了前3季的水准，但是同时也流露出对前3季中成功情节进行拷贝的迹象，希望这仅仅是偶然。Two’scompany,three’sacrowd...sowhatdoyoudowithsix?Onaverage,menandwomenthinkaboutsexeverysixseconds.Shortenthattoeverysecond,andyou’vegotCoupling.It’smorethanjustaonenightstand!Whenacouplegetstogether,it’sneverjustthetwoofthem-theyalsobringbaggage-andSusan(SarahAlexander)andSteve(JackDavenport)arenoexception.Theirbaggageisacrowdofbestfriendsandexeswhotalkaboutallaspectsofsexandrelationshipsontheirnever-endingquesttofindtruelove.Perhaps,perhaps,perhaps...SusanWalkerisabeautifulgo-getterwithanuninhibitedattitudewhousedtodatePatrickMaitland(BenMiles),thesextet’scharismatic,cockyplayer,London’skingofconquests-aguywho’sjusttoocooltoworryaboutbeingsmart.AttractiveSallyHarper(KateIsitt)isabeautytherapistwhoisSusan’sunashamedlyvainbestfriend,whoaggressivelybattlesagingwithheavydosesofmoisturizerandmen-includingPatrick.Meanwhile,SteveTaylor,whilegettingtogetherwithSusan,can’tseemtoshakeloosefromhisvivaciousandslightlyvacuousex-girlfriendJaneChristie(GinaBellman),awomansupremelyconfidentinherabilitytoseduceanyoneofeithersex,andwhorefusestobedumpedunlessshe’stheonedoingthedumping.JeffMurdoch(RichardCoyle)isSteve’s"pornbuddy"whois,inequalparts,obsessedandbewilderedbyactualsex;charminginhisway,butwithanuncannyabilitytosaythewrongthingattheworstpossibletime.HeworksinthesameofficeasSusan,withwhomhehadadisastrousandunsuccessfulone-nightfling.CouplinghasbeenhonouredwiththeprestigiousSilverRoseofMontreux,BestTVComedyAward,andisrecentwinneratthe2003BritishComedyAwards.Withanewguyonthescene,ababyontheway,commitmentintheair,andloveonthehorizon,thedynamicsofthesixfriendsaredefinitelychanging.AttheendoflastseasonSusanandStevediscoveredtheywerepregnant(well,mostlySusan),confirmedbachelorPatrickandSallyfinallyadmittedtheirtruefeelingsforeachother,andpoorJanewasleftonherown,onceagain.Butit’snotalldoomandgloomforJane.Asthenewseasonopens,thingsarelookingup.There’sthisguycalledOliver,whohashiseyeonher.IsitpossiblethatlifetimeloserinloveOlivermightjustgetsomewherewithlifetimeloserinloveJane?Troubleis,hisapartmentisalittle"un-edited"andhislivingroomhaslostthebattlewithmagazinenudity...SusanandStevearenowwellandtrulyanitem.Sowhyishedreamingaboutbeingexecutedbyafetuswithanaxe?MeanwhileSallyandPatrickaresettlingintotheirnewrelationship.Butsincethedawnoftime,menandwomenhavebeenfallinginlove-andmenhavebeentryingtogethomestraightafterwards.CanfallenplayboyPatrickeverfindhiswaybackfromtheenchantedgladeofhisonetrueloveandgetadecentnight’ssleep?

Apassionate26-yearoldBMXdirtjumper,PhineasCooper,getsthechanceofalifetimetocompeteattheregionalleveltoqualifyfornationals.Buthispursuitoftriumphsourswithacrashthatknockshimoutofcommission.Determinedtogetbackontrackforthenextmajorcompetition,heundergoesphysicaltherapyforacouplemonths.Inthemeantime,heisorderedbycourttocompletecommunityserviceformanyunpaidcitationsforrecklessstreetriding.Heisforcedtovolunteeratalocalyouthcenterforat-riskteenageboys,andmeetsJordinRiley,abeautifulhumanitarian.Toimpressher,PhindecidestosignupformentorshipandhandpicksoneofthetoughestboysnamedBlueEspinosa,a14-yearoldwhosemotherisaheroinaddict,andwhosefatherwasgunneddown.AsPhintakesBlueunderhiswings,heandhisfriendsleadhimonadventuresofridingdirttrails,bigjumpsandcityscapes..

DIHumphreyGoodmanandhisteamarebacksolvingincreasinglypuzzlingmurdersonthebeautifulislandofSaintMarie-fromabodyona册canotoatwo-partstorywhichtakestheteamtoLondon.Butit’snotjustthecrimewhichistroublingHumphrey-ashisrelationshipwithMarthablossoms,willthecour搜索引擎优化ftrueloverunsmoothly?MeanwhiletheteamareconcernedforSergeantFlorenceCassellwhenanoldfriendisfounddead.Dwayneisforcedtoconfronthispast,JPturnstoDwayneformarriageguidanceandSelwyn’sinterventioninacaseputsCatherineatthecentreofthemayoralelections.Thesixthseriesofthehugelypopularshowdeliversitsusualrecipeoffun,emotionandintrigue-withafewsurprisestoo-allservedupinthegloriousCaribbeansunshine.

MurdochandInspectorBrackenreidareaboardtheSSKeewatinaftertheowner,ClarenceMacFarlane,receiveswhathebelievesisathreat.TheKeewatinisabouttodepartfromTorontoonitsmaidenvoyagedestinedforRochester,N.Y.andMurdochthinkstheyshouldstayonboard,especiallyafterheseesthatJuliaisoneoftheinvitedguests.TheirpresenceprovesusefulafterMacFarlane’sdaughterAmy,whoisengagedtoherfather’schieffinancialofficerOwenMathers,fallsoverboardandisnowheretobefound.AsMurdochinvestigateshefindsthereisarealthreatagainsttheKeewatinandthetruefactsbehindAmy’sdisappearance.

Voice1(male"professionalannouncer"type):Thisneighborhood(1)wasmadeforthewretcheddignityofthepettybourgeoisie,forrespectableoccupationsandintellectualtourism.Thesedentarypopulationoftheupperfloorswasshelteredfromtheinfluencesofthestreet.Thisneighborhoodhasremainedthesame.Itwasthestrangesettingofourstory,whereasystematicquestioningofallthediversionsandworksofasociety,atotalcritiqueofitsideaofhappiness,wasexpressedinacts.Thesepeoplealsoscorned"subjectiveprofundity".Theywereinterestedinnothingbutanadequateandconcreteexpressionofthemselves.Voice2(Debord,monotone):Humanbeingsarenotfullyconsciousoftheirreallife-usuallygropinginthedark;overwhelmedbytheconsequencesoftheiracts;ateverymomentgroupsandindividualsfindthemselvesconfrontedwithresultstheyhavenotwished.Voice1 - Theysaidthatoblivionwastheirrulingpassion.Theywantedtoreinventeverythingeachday;tobecomethemastersandpossessorsoftheirownlives.Justasonedoesnotjudgeamanaccordingtotheconceptionhehasofhimself,onecannotjudgesuchperiodsoftransitionaccordingtotheirownconsciousness;onthecontrary,onemustexplaintheconsciousnessthroughthecontradictionsofmateriallife,throughtheconflictbetweensocialconditionsandtheforcesofsocialproduction.Theprogressachievedinthedominationofnaturewasnotyetmatchedbyacorrespondingliberationofeverydaylife.Youthpassedawayamongthevariouscontrolsofresignation.Ourcamerahascapturedforyouafewaspectsofaprovisionalmicrosociety.Theknowledgeofempiricalfactsremainsabstractandsuperficialaslongasitisnotconcretizedbyitsintegrationintothewhole"”whichalonepermitsthesupersessionofpartialandabstractproblemssoastoarriveattheirconcreteessence,andimplicitlyattheirmeaning.Thisgroupwasonthemarginsoftheeconomy.Ittendedtowardaroleofpureconsumption,andfirstofallthefreeconsumptionofitstime.Itthusfounditselfdirectlyengagedinqualitativevariationsofeverydaylifebutdeprivedofanymeanstointerveneinthem.Thegrouprangedoveraverysmallarea.Thesametimesbroughtthembacktothesameplaces.Noonewenttobedearly.Discussiononthemeaningofallthiscontinued...Voice2 - "Ourlifeisajourney"”Inthewinterandthenight."”Weseekourpassage..."�Voice1 - Theabandonedliteratureneverthelessexertedadelayingactiononnewaffectiveformulations.Voice2 - Therewasthefatigueandthecoldofthemorninginthismuch-traversedlabyrinth,likeanenigmathatwehadtoresolve.Itwasalooking-glassrealitythroughwhichwehadtodiscoverthepotentialrichnessofreality.Onthebankoftherivereveningbeganonceagain;andcaresses;andtheimportanceofaworldwithoutimportance.Justastheeyeshaveablurredvisionofmanythingsandcanseeonlyoneclearly,sothewillcanstriveonlyincompletelytowarddiver搜索引擎优化bjectsandcancompletelyloveonlyoneatatime.Voice3(younggirl):Noonecountedonthefuture.Itwouldneverbepossibletobetogetherlater,oranywhereelse.Therewouldneverbeagreaterfreedom.Voice1 - Therefusaloftimeandofgrowingoldautomaticallylimitedencountersinthisnarrow,contingentzone,wherewhatwaslackingwasfeltasirreparable.Theextremeprecariousnessofthemeansofgettingbywithoutworkingwasattherootofthisimpatiencewhichmadeexcessesnecessaryandbreaksdefinitive.Voice2 - Oneneverreallycontestsanorganizationofexistencewithoutcontestingallofthatorganization’sformsoflanguage.Voice1 - Whenfreedomispracticedinaclosedcircle,itfadesintoadream,becomesamererepresentationofitself.Theambianceofplayisbynatureunstable.Atanymoment"ordinarylife"�canprevailonceagain.Thegeographicallimitationofplayisevenmorestrikingthanitstemporallimitation.Anygametakesplacewithinthecontoursofitsspatialdomain.Aroundtheneighborhood,arounditsfleetingandthreatenedimmobility,stretchedahalf-knowncitywherepeoplemetonlybychance,losingtheirwayforever.Thegirlswhofoundtheirwaythere,becausetheywerelegallyunderthecontroloftheirfamiliesuntiltheageofeighteen,wereoftenrecapturedbythedefendersofthatdetestableinstitution.Theyweregenerallyconfinedundertheguardofthosecreatureswhoamongallthebadproductsofabadsocietyarethemostuglyandrepugnant:nuns.Whatusuallymakesdocumentariessoeasytounderstandisthearbitrarylimitationoftheirsubjectmatter.Theydescribetheatomizationofsocialfunctionsandtheisolationoftheirproducts.Onecan,incontrast,envisagetheentirecomplexityofamomentwhichisnotresolvedintoawork,amomentwhosemovementindissolublycontainsfactsandvaluesandwhosemeaningdoesnotyetappear.Thesubjectmatterofthedocumentarywouldthenbethisconfusedtotality.Voice2 - Theerahadarrivedatalevelofknowledgeandtechnicalmeansthatmadepossible,andincreasinglynecessary,adirectconstructionofallaspectsofaliberatedaffectiveandpracticalexistence.Theappearanceofthesesuperiormeansofaction,stillunusedbecau搜索引擎优化fthedelaysintheprojectofliquidatingthecommodityeconomy,hadalreadycondemnedaestheticactivity,whoseambitionsandpowerswerebothoutdated.Thedecayofartandofallthevaluesofformermoreshadformedoursociologicalbackground.Therulingclass’smonopolyovertheinstrumentsweneededtocontrolinordertorealizethecollectiveartofourtimehadexcludedusfromaculturalproductionofficiallydevotedtoillustratingandrepeatingthepast.Anartfilmonthisgenerationcanonlybeafilmonitsabsenceofrealcreations.Everyoneunthinkinglyfollowedthepathslearnedonceandforall,totheirworkandtheirhome,totheirpredictablefuture.Forthemdutyhadalreadybecomeahabit,andhabitaduty.Theydidnotseethedeficiencyoftheircity.Theythoughtthedeficiencyoftheirlifewasnatural.Wewantedtobreakoutofthisconditioning,inquestofanotheru搜索引擎优化ftheurbanlandscape,inquestofnewpassions.Theatmosphereofafewplacesgaveusintimationsofthefuturepowersofanarchitectureitwouldbenecessarytocreatetobethesupportandframeworkforlessmediocregames.Wecouldexpectnothingofanythingwehadnotourselvesaltered.Theurbanenvironmentproclaimedtheordersandtastesoftherulingsocietyjustasviolentlyasthenewspapers.Itismanwhomakestheunityoftheworld,butmanhasextendedhimselfeverywhere.Peoplecanseenothingaroundthemthatisnottheirownimage;everythingspeakstothemofthemselves.Theirverylandscapeisalive.Therewereobstacleseverywhere.Therewasacohesionintheobstaclesofalltypes.Theymaintainedthecoherentreignofpoverty.Everythingbeingconnected,itwasnecessarytochangeeverythingbyaunitarystruggle,ornothing.Itwasnecessarytolinkupwiththemasses,butweweresurroundedbysleep.Voice3 - Thedictatorshipoftheproletariatisadesperatestruggle,bloodyandbloodless,violentandpeaceful,militaryandeconomic,educationalandadministrative,againsttheforcesandtraditionsoftheoldworld.Voice1 - Inthiscountryitisonceagainthemenoforderwhohaverebelled.Theyhavereinforcedtheirpower.Theyhavebeenabletoaggravatethegrotesquenessoftherulingconditionsaccordingtotheirwill.Theyhaveembellishedtheirsystemwiththefunerealceremoniesofthepast.Voice2 - Years,likeasingleinstantprolongedtothispoint,cometoanend.Voice1 - Whatwasdirectlylivedreappearsfrozeninthedistance,fitintothetastesandillusionsofanera,carriedawaywithit.Voice2 - Theappearanceofeventsthatwehavenotmade,thatothershavemadeagainstus,nowobligesustobeawareofthepassageoftime,itsresults,thetransformationofourowndesiresintoevents.Whatdifferentiatesthepastfromthepresentispreciselyitsout-of-reachobjectivity;thereisnomoreshould-be;beingissoconsumedthatithasceasedtoexist.Thedetailsarealreadylostinthedustoftime.Whowasafraidoflife,afraidofthenight,afraidofbeingtaken,afraidofbeingkept?Voice3 - Whatshouldbeabolishedcontinues,andwecontinuetowearawaywithit.Weareengulfed.Weareseparated.Theyearspassandwehaven’tchangedanything.Voice2 - Onceagainmorninginthesamestreets.Onceagainthefatigueofsomanysimilarlypassednights.Itisawalkthathaslastedalongtime.Voice1 - Reallyhardtodrinkmore.Voice2 - Ofcour搜索引擎优化nemightmakeafilmofit.Butevenifsuchafilmsucceedsinbeingasfundamentallydisconnectedandunsatisfyingastherealityitdealswith,itwillneverbemorethanare-creation"”poorandfalselikethisbotchedtravelingshot.Voice3 - Therearenowpeoplewhopridethemselvesonbeingauthorsoffilms,asotherswereauthorsofnovels.Theyareevenmorebackwardthanthenovelistsbecausetheyareunawareofthedecompositionandexhaustionofindividualexpressioninourtime,ignorantoftheendoftheartsofpassivity.Theyarepraisedfortheirsinceritysincetheydramatize,withmorepersonaldepth,theconventionsofwhichtheirlifeconsists.Thereistalkoftheliberationofthecinema.ButwhatdoesitmattertousifonemoreartisliberatedthroughwhichTom,DickorHarrycanjoyouslyexpresstheirslavishsentiments?Theonlyinterestingventureistheliberationofeverydaylife,notonlyintheperspectivesofhistorybutforusandrightaway.Thisentailsthewitheringawayofalienatedformsofcommunication.Thecinema,too,hastobedestroyed.Voice2 - Inthefinalanalysis,starsarecreatedbytheneedwehaveforthem,andnotbytheirtalentorlackoftalentorevenbythefilmindustryoradvertising.Miserableneed,dismal,anonymouslifethatwouldliketoexpanditselftothedimensionsofcinemalife.Theimaginarylifeonthescreenistheproductofthisrealneed.Thestaristheprojectionofthisneed.Theimagesoftheadvertisementsduringtheintermissionsaremoresuitedthananyothersforevokinganintermissionoflife.Toreallydescribethiseraitwouldnodoubtbenecessarytoshowmanyotherthings.Butwhatwouldbethepoint?Bettertograspthetotalityofwhathasbeendoneandwhatremainstobedonethantoaddmoreruinstotheoldworldofthespectacleandofmemories.1.Thisfilm,whichevokesthelettristexperiencesattheoriginofthesituationistmovement,openswithshotsoftheParisdistrictfrequentedbythelettristsintheearly1950s.

ArmandoIannuccipresentsapersonalargumentinpraiseofthegeniusofCharlesDickens.Throughtheprismoftheauthor’smostautobiographicalnovel,DavidCopperfield,ArmandolooksbeyondDickens-thenationalinstitution-andinsteadexploresthequalitiesofDickens’sworkwhichstillmakehimoneofthebestBritishwriters.WhileDickensisoftencelebratedforhispowerfuldepictionsofVictorianEnglandandhisroleasasocialreformer,thisprogrammeforegroundstheelementsofhiswritingwhichmakehimworthreading,asmuchforwhathetellsusaboutourselvesinthetwenty-firstcenturyasourancestorsinthenineteenth.ArmandoarguesthatDickens’sremarkableuseoflanguageandhisextraordinarygiftforcreatingcharactersmakehimastartlinglyexperimentalandpsychologicallypenetratingwriterwhodemandsnotjusttobeadaptedfortelevisionbuttobereadandreadagain.

Mavieis27yearsoldandhasjustmovedtotheFrenchcapitalfromtheprovinces.Shedreamsofafutureasawriterbutisplaguedbydoubtanduncertainty.76-year-oldmisanthropeGeorgesrunsabookshopinParis–orhashemerelybeenforcedtotakerefugetheretoescapehispastThesearetwopeculiarcreaturesindeed.Georgesiscynicalandnolongerexpectsmuchfromlife,whileMavieisstillbrimmingwithexpectation.Yetsomethingmagicalhappensbetweenthem,untilGeorgesdarksecretsuddenlycatchesupwithhim–andMavieiscaughtupinsomethingverydifferent...DirectorEliseGirardsucceedsinmakingadreamlikefilmfullofsurprisingabsurdities.It’snotjustlovethatappearsoutoftheblueforthetwoprotagonists,butalsosomequiteliteralstrangebirds.Girarddepictslovebeyondthebarriersofageinawaythatisbothunexpectedandmoving,romanticinsteadofphysical,timelessinsteadoffashionable.Thefilmremindsusofthemultifacetednatureofloveaswellashowfleetingitcanbe,existingnotyesterdayortomorrowbutaboveallinthepresent.

　1919. 特拉维斯作为偷袭手加入了一战,当初是澳大利亚北部辽阔空阔的处所的一名警员,他在一次行为中得到了掌握,招致了对一个土人部落的屠戮。下级保持要掩饰本相后,特拉维斯讨厌地分开了,却在12年后自愿返来追捕Baywara,一个对新移平易近直接袭击的土人兵士,形成了伟大的损坏。当特拉维斯招募了独逐一个已知的大屠戮幸存者Gutjuk作为他的导游时,从前的本相被揭开了,特拉维斯成了被追捕的工具