在2025年与2026年交汇之际，跨年"意大利电影周"特别活动在上海大光明电影院温暖启幕，以银幕之光 陪伴申城影迷辞旧迎新。意大利电影大师萨维里奥·科斯坦佐，以及威尼斯电影节最佳女演员得主阿尔 芭·洛瓦赫等嘉宾亲临现场，与影迷共度这一充满文艺气息的跨年之夜。这也是上海艺术电影联盟自 2013年成立以来首次举办跨年特别活动，旨在回馈影迷朋友们长达十二年的温暖陪伴。 本次"新年意影——意大利电影周"从2025年12月31日持续至2026年1月11日，为期十二天，精心呈现八 部意大利电影佳作。 1、电影大师安东尼奥尼执导，奥斯卡影帝杰克·尼科尔森主演的《过客》，讲述因身份互换而引祸上身 的故事； 2、意大利当代最具代表性的导演萨维里奥·科斯坦佐的代表作之一《黎明终至》，讲述一位年轻女孩被 迫在浮华、欲望与权利的漩涡中经历的一场关于梦想与现实的残酷成人礼； 3、意大利当代最具代表性的导演萨维里奥·科斯坦佐的代表作之一《饥饿的心》，讲述偏执的母爱将家 庭变成无菌牢笼的绝望故事； 此外，导演萨维里奥·科斯坦佐也是意大利热门剧集《我的天才女友》第一季的导演，而演员阿尔芭·洛 瓦赫在该剧中为旁白配音，为配合他们来沪，上海艺术 ...

Group 1 - The article discusses the evolution of female narratives in the 21st century, highlighting the friendship between two female creators, Chen Ying and Zhang Yueran, and their shared literary experiences [1][3][5] - Their friendship began in 2017 during a literary trip to Italy, where they connected over their admiration for Italian author Elena Ferrante and her works [1][3][5] - The dialogue between Chen and Zhang reflects a broader trend in female self-narration, emphasizing the importance of personal experiences and the need for women to express their stories [12][18][30] Group 2 - The article notes a resurgence of autobiographical narratives by women in recent years, with authors like Yang Benfen and Wang Wan exploring ordinary lives and struggles [18][21][30] - Chen Ying and Zhang Yueran discuss the shift from earlier female narratives that emphasized material prosperity to contemporary stories that focus on personal struggles and finding one's voice [18][24][30] - The concept of "weak female narratives" is introduced, suggesting that these stories resonate more with readers by reflecting real-life complexities and emotional truths [41][43][46] Group 3 - The article highlights the changing dynamics of female friendships in literature, moving from simplistic portrayals to more complex and nuanced relationships [46][51][53] - Chen Ying emphasizes the need for female friendships to be recognized as public and enduring relationships, akin to male friendships, rather than private and transient [51][53] - The discussion includes the impact of societal structures on female narratives, suggesting that women's fluid social positions allow for diverse and dynamic friendships [53][55]

Core Viewpoint - The article discusses the issues surrounding the translation of film titles, particularly focusing on the gender implications and the visibility of women in the translated titles, highlighting the need for a more gender-sensitive approach in translation practices [2][11][21]. Group 1: Translation Issues - The translation of the film "Young Woman and the Sea" to "泳者之心" (Heart of the Swimmer) has been criticized for obscuring the female identity central to the story [1][2]. - Previous translations have also faced scrutiny for reinforcing gender stereotypes, such as translating "Madam President" as "总统夫人" (First Lady) instead of "总统女士" (Madam President) [3][11]. - The article emphasizes that many translations prioritize male perspectives, leading to a misrepresentation of female characters and narratives [17][21][24]. Group 2: Feminist Translation Practices - The "秃炮怪字幕组" (Bald Cannon Subtitle Group) has adopted feminist translation strategies, such as renaming shows to reflect a more accurate representation of female characters, like changing "Funny Woman" to "风趣女子" (Funny Woman) [4][19]. - The group has also implemented strategies like "hijacking" and "supplementing" to challenge patriarchal narratives and enhance the visibility of women in translations [29][38]. - The article highlights the importance of maintaining a gender-friendly approach in translation, which includes not altering female characters' language to fit traditional norms [75][76]. Group 3: Cultural and Ideological Implications - The article discusses how translation practices can reflect and perpetuate cultural biases, particularly in the context of gender, where women's identities are often marginalized [17][66]. - It points out that the translation of titles and dialogues can either reinforce or challenge existing power structures, making the role of translators crucial in shaping narratives [62][84]. - The article concludes that the evolution of feminist translation practices is essential for creating a more equitable representation of women in media [27][85].

Group 1 - The controversy surrounding the translation of feminist works by male translators raises questions about gender identity in literary creation [1][2][4] - The discussion extends to whether specific groups have the legitimacy to interpret certain topics, such as whether male directors can accurately portray female characters or if able-bodied actors can play disabled roles [1][2][15] - The issue of "writing rights" is highlighted, noting that historically, many significant concepts regarding women have been articulated by male authors [4][8] Group 2 - The emergence of identity politics in literature prompts a reevaluation of how identity influences cultural life and artistic expression [2][21] - The distinction between male and female authorship is emphasized, with a focus on the challenges female writers face in gaining recognition and the societal structures that hinder their visibility [9][22] - The concept of "internal perspective" is discussed, suggesting that authentic representation in storytelling requires the involvement of those from the represented group [15][18] Group 3 - The film industry is noted for its evolving dynamics, where the representation of marginalized groups is increasingly being questioned, leading to a demand for more authentic narratives [17][20] - The discussion includes the impact of gender on creative processes, with examples of how female directors may approach filmmaking differently than their male counterparts [20][21] - The need for more diverse voices in literature and film is underscored, as the current landscape often limits creators to narratives tied to their identities [22][23]