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The meaning of Welles is that the past is simply dead what we do in present is creating myth about it.
威尔斯想要表达的就是过去已经逝去了,而我们今天做的仅是创造神话。
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This is Sarah Darkley and Michelle, political science of Wellesley, third year and introduction of the vedio production that's interesting.
这是莎拉·达克利的纸条,还有米歇尔就读于威尔斯利大学，政治科学系，大三学生,她的纸条上介绍了录像制作方法,那很有意思。
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And you'll be reading in 3 philosophical film makers a 78-page chapter on Orson Welles who is one of my great heroes.
你们要读奥逊·威尔斯的材料，那一章78页,里面会提到3个哲学电影制作人,威尔斯是我最崇拜的英雄。
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It was a little primitive establishment almost a commune in which Welles being a teenager, the grown-up will have a great time.
那是一个原始的建筑,就像一个小社区，在那里,威尔斯度过了少年。
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So some of the Welles's material comes back in but it's never, doesn't comes back in the way Welles had done it.
所以好多威尔斯的形回来了,但是他的神却没有,不像威尔斯原来做的那样。
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And that is the sort of psycho-analytic one, ascribing this sense of lost in the past, to the death of Welles's mother.
这里面也有一点心理分析的成分，将迷失在过去的感觉归因于，是威尔斯母亲的去世。
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Well one thing I was struck by this was that Welles has such a great sence of humor.
令我惊叹的一个事情是,威尔斯有很强的幽默感。
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Two of them. -Between the two of them, which one do you prefer, which one do you think is Welles's better work?
是的，-在这两者之中，您更喜欢哪个，您觉得哪个是威尔斯更好的作品呢？
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the quote I gave you or mentioned in the chapter is Welles' saying of John Ford.
在这章里我给出的评论,正是威尔斯对约翰·福特的评价。
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That's to your art, to your enjoy the moment of creativity So, what Welles is really espousing is the goodness of being alive and being creative.
这些对你来说是艺术，是享受,创造性的一刻,那又如何呢，威尔斯真正提倡的,是活着，并充满创造力。
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In the documentary, Welles mentioned that he doesn't like watching other people's films.
在纪录片中，威尔斯提到,他不喜欢看其他人拍的电影。
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and they often provide the key to somehting He's curious about that.
可它却是我们了解任何事情的关键,威尔斯对这个很是好奇。
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I'm curious what impression you've got from the documentary about Welles.
我很好奇你们从纪录片中,对奥森·威尔斯有了什么样的印象。
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Whereas he, Welles, wanted to examine them that's the big difference.
而威尔斯却是要论证神话,这正是他们最大的区别。
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But Welles's life as a whole, was a creative life.
但是，威尔斯的生活是完整的，有创意的。
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Welles's mother died when he was nine years old.
威尔斯的母亲在他9岁的时候就死了。
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Usually it's not. That was the point that discussed in my chapter comparing him to Houston's film The Dead. Houston's film is filled with sentimentality and nostalgia. Welles generally avoids that, the way James Joyce does.
通常并非如此，那正是我在比较,他的作品与休斯顿的电影《死魂灵》,的章节中所谈到的，休斯顿的电影,充满了多愁善感和怀旧情绪，而威尔斯通常,尽量避免那样做，那是詹姆斯·乔伊斯的方式。
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Well, there're different interpretations: One, Welles vehemently rejects in the book called This is Orson Welles which is his interviews with Bogdanovich, that I think I told you I read over and over. I loved it so much.
当然，有不同的解释：,一，威尔斯在一本叫做,《这就是奥森·威尔斯》，也就是,他和博格达诺维奇的谈话中，反对这种观点,我看了很多遍，我也很喜欢。
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That's not what Welles wanted He wanted to examine the myth of the past, even the rest of being a little nostalgic about the whole stuff, and to build the work of art, so we can live with that.
这不是威尔斯想要做的,他想检验过去之谜，甚至对这一切,和创作艺术作品，有一点怀念,所以我们可以生活在他的艺术里。
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Can you talk a little about what you mean by... I mean I've read the chapter Well, I think it's a phrase that used by Welles and he says he, as a fascination for values that exsited in earlier society, which don't exist any more.
你能再解释一下你的问题吗。,当然，我是读完了这一章的,这是威尔斯常用的一句习语,正如他所说，这东西是一种内在的价值魅力,不过现在已经不存在了，只能在历史中找到些许影子。
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Welles said, forgive me for repeating myself from a previous class, Welles said the problem with Citizen Kane is that it just look like a young film maker trying to set proof to the world that he can make movies. That's exactly what it was.
请原谅我,又要重复上次课上的话，威尔斯说，《公民凯恩》的问题在于,它看起来就像是一个年轻的电影制作人,试图去向世界证明,他能够做电影，的确是这样。
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And the rest, what we see of the rest, is nowhere in the classroom for Orson Welles in terms of technique. So that remake is interesting and that's why I spent the pages discussed it in my chapter. But it's not a competitor.
剩下的呢，就是我们所看到的，没有给奥森·威尔斯施展,他技艺的空间，所以翻拍版很好玩,这也是为什么我用许多页来,在我那一章中讨论此事。
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