《聚焦》：一窥真实的新闻业
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.
奥斯卡最佳影片《聚焦》没有任何让人心跳加速的戏剧冲突，也没有像大多数犯罪悬疑片一样采用惊悚的倒叙。但是对现实调查的细节描绘和递进式叙述让它比同类电影更具冲击力。
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.
该片由汤姆•麦卡锡执导，故事改编自真实事件：《波士顿环球报》决定揭露全市势力最大的组织之一——天主教会的丑闻。2002年，一个调查记者四人小组揭露了波士顿神职人员猖狂亵渎儿童的行为，而教会却为他们的罪行洗白。
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.
多数大片都聚焦一个主角——最终力挽狂澜的救世主。而《聚焦》偏偏不随大流。该片启用了大量演员，恰如其分地反映了新闻编辑部人员的团队协作。
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.
主角们决定一起调查恋童癖神父。他们不顾教会和一些愤怒目击者的压力，收集和找出了线索之间的联系，并将其公之于众。“这部电影反映了报道的系统性过程，”资深副主编大卫•西姆斯在《大西洋月刊》上评价说。
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.
在数字化时代，出版刊发文章的数量以及每篇文章的点击量逐渐成为衡量新闻价值的指标。而像《聚焦》这样的电影则把我们拉回到了过去的年代，那时调查记者为了调查一个案件可以花上两年的时间。这部电影还唤起了我们的怀旧之情，怀念慢节奏的平面媒体和它可能产生的华彩。
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》还弱化了流行文化中大众对新闻业的鄙夷和嘲讽。电影中的媒体人是高尚的，他们是有自我牺牲精神的记者，不顾个人安危去揭露腐败。相反，现在一些电影和电视剧则把记者，特别是女记者塑造成没有道德和职业素养的人。
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，网飞公司的电视剧《纸牌屋》中，女记者佐伊•巴恩斯(凯特•玛拉饰)和国会议员上床套取信息。在电影《感谢你抽烟》中，记者希瑟•霍罗韦(凯蒂•赫尔姆斯饰)利用非正式的私人言论陷害了一名游说客。之后在电影《王牌播报员》中，虚构的新闻主持人朗•伯甘蒂(威尔•法瑞尔饰)则挖空心思想和自己的女性竞争者发生关系。
“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.”
“面对这些装腔作势的刻板偏见，我们可以一笑了之，”林赛•佐拉斯在流行文化网站Vulture上写道，“不过它们却一直在我们的文化想象中挥之不去。”
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》不仅挑战了我们对记者的误读，更是向记者这一职业及其价值的致敬。《纽约时报》电影评论员A.O.斯科特写道：“在记者这个职业越来越被鄙视的文化背景下，《聚焦》维护了它的专业精神。“
