01
动作女星就是这么“飒”
和众多女性一样，我苦苦思索该以何种姿态行走世间。走路时如何能自信满满而不至招摇过世；站立时如何能昂首挺胸而不至“气势胸胸”；如何嫣然一笑，如小家碧玉；如何叠腿而坐，似大家闺秀；如何表达自我而有理有节；如何展现自我而锋芒内蕴。然而在荧幕世界里，我却格外喜欢看那些女性掌控全场的飒爽英姿、她们雷厉风行甚至蛮横霸道的肆意自由。
Like many women, I have spent a lot of time thinking about how to move through the world. How to walk with confidence but not too much swing. How to stand with my shoulders back without sticking out my chest. How to smile, like a nice girl. How to cross my legs, like a lady. How to speak up, within reason. How to take up space but not too much. Yet I love watching women who take up space, who swagger and sometimes wildly crash.
几年前，我意识到我花了很多时间在YouTube上看特技电影的幕后视频。我看这些视频是因为我很喜欢特技表演，想了解某些场景是如何实现的，尤其是女性在动作片里的特技——我是20世纪70年代电视连续剧《神奇女侠》以及后来《吸血鬼杀手巴菲》的粉丝。但直到最近我才意识到，我看的这些幕后视频其实是在通过女性的武打动作来展现不同的女性形象。
A few years ago, I realized that I was spending a lot of time on YouTube watching stunt videos. Usually, I watch these videos because I greatly enjoy stunts and want to see how certain scenes were executed. But I really enjoy watching women in action. I’d been a fan of the 1970s TV series “Wonder Woman” and later “Buffy the Vampire Slayer”. Only recently did I grasp that the behind-the-scenes videos I was looking at were showing women kicking and punching their way to different kinds of female representation.
帕姆·格里尔在《狐狸布朗》中的打斗场面
今年2月份，看过《哈莉·奎因：猛禽小队》后，我迷上了电影所呈现的女强世界，在那里，笑容邪魅、态度恶劣的女性团体是那个世界的主角。我喜欢影片中尔虞我诈的姐妹情谊，但我更喜欢她们下手时的狠辣无情。哈莉那咧着大红唇放肆的笑容、戏谑肆意的放纵与失控，都像是一种直白而猛烈的驳斥，反抗着世俗对于女性以及对她们自我展现的陈腐观念。
When I caught up with “Harley Quinn: Birds of Prey” in February, I grooved on an entire world populated by women taking up space with grins and seriously bad attitude. I liked the women’s prickly camaraderie, but I really liked how relentlessly physical they were. Harley’s grinning red mouth and playful lawlessness, her cartwheels of chaos, felt like a unambiguously furious rejoinder to antediluvian ideas about women and the display of their bodies.
《哈莉·奎因：猛禽小队》中的姐妹团
我喜欢看那些女影视演员、女特技演员、女舞者、女体操运动员、女特技骑手和女空中飞人在屏幕上翻飞移离。无论是看体操运动员凯特琳·桥本做的空翻，还是看哈利·奎因用棒球棒痛击恶棍，我们都能从这种肢体运动中获得喜悦和敬畏。
I love watching other women — actors and stunt performers, dancers and gymnasts, trick riders and trapeze artists — move on and off the screen. There is also just the delight and awe we derive from looking at the human body in glorious motion, whether it’s the gymnast Katelyn Ohashi executing a series of flips or Harley Quinn clobbering a villain with a baseball bat.
02
动作女星的“受虐”血泪史
动作女星的故事可以映射出女演员在电影业中的发展历程，在由男性主导的20世纪里，这个故事复杂而曲折。
The story of women in cinematic action mirrors the story of women in the movie industry which grows convoluted as it winds through the male-dominated 20th century.
电影诞生之初，不少女性为电影艺术作出了贡献，而随着电影事业的不断发展，青春靓丽的女性开始在荧幕上涌现，海伦·霍尔姆斯就是其中的一位，她是《海伦的危险》的主角，电影围绕一位有着梦幻般刺激生活的铁路电报员展开。
It begins at the dawn of cinema, when women helped invent the art, continuing into the teens with serial queens like Helen Holmes, the first star of “The Hazards of Helen”(1914-17), about a railroad telegraph operator with a fantastically exciting life.
海伦·霍姆斯在1915年的《快速列车上的逃亡》的剧照
海伦参与了《海伦的危险》的编写、导演和制作，她还亲自完成了一些特技。而她角色的继任者是更加大胆的海伦·吉布森，吉布森也被称为第一位特技女性。
Holmes wrote, directed and produced some episodes of the serial, and seems to have done some of her own stunts; her replacement, the even more daring Helen Gibson, has been called the first stunt woman.
美国影视业中，大多数电视剧都围绕着一位胆识过人的女主人公展开，她们陷入困境需要援救，但同时又巧施计策绝处逢生。这些电影通过惊险刺激的情节为女性观众开辟了勇敢无畏的自我新视角。换而言之，它们是为新时代女性而拍的，从19世纪末开始，这些新时代女性就开始踏入这个迅速变化的世界，这种变化体现在工作、购物、娱乐和冒险方面，而这也在一定程度上颠覆了传统的性别规范。
In the United States, most serials centered on a plucky heroine who lands in hot water and sometimes need to be rescued, but who also saves herself. With thrills and spills, these films offered female viewers bold new visions of themselves. They were, in other words, films for the new woman, a figure who beginning in the late 19th century would upend gender norms partly by venturing into a rapidly changing world of work, shopping, entertainment and derring-do.
但到1920年，也就是第19修正案被批准的那一年，属于自由张扬的女冒险家和先锋女性电影制作人的时代画上了句号。在随后的几十年里，尽管这些女性在世界其他地方有了越来越大的影响力，但好莱坞却一直在打压、排挤她们，想让她们屈服。
By 1920, the year that the 19th Amendment was ratified, the era of both the free-ranging female adventurer and pioneering female filmmaker was largely over. In the decades that followed, Hollywood kept women tamped down, sidelined and domesticated, even as they continued to take up more and more space in the rest of the world.
但女性角色在银幕上仍然可以表现得很狂野并令人神魂颠倒，这种狂野常常通过影视剧情里撕心裂肺的对话、上膛的手枪以及适时的死亡来表达。在影片中，她们像从前一样骑马驰骋，于天空翱翔，从楼梯摔落，在混战里撕打。
But female characters still could be unruly onscreen, deliriously so, a wildness that was often expressed through lacerating dialogue, a loaded gun and expedient death. They also continued to ride horses, fly through the air, fall down staircases and scuffle in cat fights.
尽管这些特技有时由女性表演，有时会使用男替身完成。但像芭芭拉·斯坦威克和莫琳·奥哈拉这样的好莱坞明星却更喜欢自己完成特技动作。对奥哈拉来说，这对重塑和控制自己的银幕形象至关重要。
Although often these feats were performed by female and sometimes disguised male stunt doubles, a few Hollywood stars like Barbara Stanwyck and Maureen O’Hara liked doing their own stunts. For O’Hara, that was critical to reshaping and controlling her screen image.
20世纪40年代末，奥哈拉厌倦了只在戏里充当背景，决定挤入前排占据瞩目地位。她在回忆录中写道:“我立志要成为荧幕上的主宰，这样谁都不能轻易忽视我。”她决心将自己的内心力量和身体力量结合起来，以便与银幕上的男人们分庭抗礼。
In the late 1940s, tired of being treated as part of the scenery, she decided to muscle her way into the foreground. “I resolved to be such a dominant presence on the screen that I couldn’t be ignored,” she wrote in her memoir. And she was determined to combine her internal and physical strengths in order to “hold my own onscreen against the men.
芭芭拉·斯坦威克的《四十支枪》剧照，她总是自己完成特技动作
人们正在打破对于女性的刻板印象。我第一次看舒默的成名片《生活残骸》时就忍不住盯着她的腿看，那漂亮而强壮的线条，与我在传统电影中看到的纤纤玉肢截然不同。这不仅仅是尺寸上的差异，它更意味着女性身体的解放、力量的爆发、角色的突破以及行动上的挣脱。
What is being demolished now are stereotypes about women. The first time I watched “Trainwreck,” Schumer’s breakout movie, I couldn’t stop looking at her legs. They were beautiful and muscular, nothing like the fragile-looking stems I was accustomed to seeing fetishized in movies. This isn’t only about size, it is also about the emancipation of women’s bodies, their power, roles and moves.
《永生守卫》里，查理兹·塞隆和琪琪·莱恩在半空中打斗
03
动作女星“自是花中第一流”
塞隆成为电影动作女王的一个原因是，不管她的角色有没有浪漫元素的陪衬，她总是看起来特立独行、冷艳而难以接近。在《极寒之城》中，她拿到了一个极好的角色。从多方面来看，这可以说是一部荒谬的电影，但剧中她作为一名间谍的表现，无论是在打戏部分还是在别的戏份，都令人惊叹不已。
One reason Theron has become the reigning woman of cinematic action is that she often seems alone, sovereign, whether her character has a romantic foil or not. She’s given a great one in “Atomic Blonde.” It’s an absurd movie in most respects but she’s an astonishment as a spy, including in the action scenes.
查理兹·塞隆在《极寒之城》中将厨房变成了军械库。
《极寒之城》巧妙地将男性阳刚与女性的柔和融合在一起，它们的界限在这部电影中逐渐模糊。电影里最猛烈的一场打斗发生在厨房里，塞隆扮演的间谍一罐子将敌人击倒在地，同时猛摔冰箱门砸向他的同伙将其制服。
“Atomic Blonde” plays with ideas of masculinity and femininity, partly by blurring them. One of the most brutal fights is set in a kitchen, where Theron’s spy knocks out one guy out by flinging a pot at him and rapidly takes down another by slamming a freezer door in his face.
我第一次看到这一幕时，脑中立刻闪现出一位我家的老朋友，她用一只铁煎锅给了她丈夫当头一击，虽然他活了下来，但他们也离婚了，这件事着实令我震惊。
Watching the scene the first time, I flashed on an old family friend who had hit her husband in the head with a cast-iron skillet. He survived; they split up. The incident had shocked me.
生活告诉我要去敬畏男性的力量，要避免在夜间独行，尽量不和任何人争吵，我自认做的不错。驳斥有时会给我带来麻烦，但我热衷于发表意见并成为了一名评论家，我崇尚敢于顶嘴、反击、独行的女性形象，这样的女性拥有自己的力量，她们强势而毫不留情地掌控着荧幕并成为荧幕的主人。
I was fairly well-behaved, and life had trained me to respect and fear male power, to avoid walking alone at night, avoid giving anyone lip. Talking back could get me in trouble. But I was a mouthy kid and, I became a critic. A critic who loves women who talk back, who fight back, who walk alone — women who own their power and ferociously, unapologetically, own the screen.
编译：张璐瑶 陈淑娟 王庶同
排版：王庶同
审核：赵寒旭
指导老师：刘佳
