大岛渚作品的丰富性在于其将疏离感与参与感融为一体的能力。
The richness of Oshima's work lies in its ability to fuse alienation with involvement.
然而大岛渚的影片也可以被解读为是对小津的重新诠释和回击。
Yet Oshima's film can also be interpreted as a reinterpretation of and a riposte to Ozu.
终其整个职业生涯，大岛渚始终是一位煽动者和反偶像崇拜者。
Throughout his career, Oshima remained a provocateur and iconoclast.
然而，大岛渚作品的丰富性还在于其将离间与涉入加以融合的能力。
The richness of Oshima's work, however, lies in its ability to fuse alienation with involvement.
然而，大岛渚作品的丰富性还在于其将离间与涉入加以融合的能力。
Therichness of Oshima'swork, however, lies in its abilitytofuse alienation with involvement.
然而，大岛渚作品的丰富性还在于其将离间与涉入加以融合的能力。
The richness of Oshima 's work , however , lies in its ability to fuse alienation with involvement .
在这层意义上，大岛渚的作品尽管正受到前所未有的冷遇，但也从未看上去如此重要和尖锐。
In that sense, Oshima's work - never so unfashionable - has never seemed so vital or so probing.
而另一方面，大岛渚的影片却需要观影者对其在日本历史和电影历史中所处的地位有一个更为全面的了解。
Oshima's films, on the other hand, demand a fuller understanding of his place in the history of Japan and the history of cinema.
然而，为了理解大岛渚的作品在哪一方面对先前影片进行了扬弃，对其最经典作品之一加以分析将是颇有启发之举。
Yet to develop an understanding of the way in which Oshima's films break with, and at the same time build on, earlier cinema, it is instructive to examine one of his most classical films.
大岛渚在这种动荡的背景下完成了其第一批影片，这些作品已经通过对青少年犯罪者的聚焦，表现出了日本社会内部的紧张状态。
Against this turbulent background, Oshima made his first films, which already, in their focus on delinquent youth, gave voice to the tensions in Japanese society.
大岛渚巅峰时期（上世纪六十年代末期至七十年代早期）的许多杰作如今仍未发行商业DVD；对于许多人而言，目前的巡游回顾展将是首次一睹其真容的机会。
Many masterpieces from his best period, the late 1960s and early 1970s, remain unavailable on commercial DVD; for many, the current travelling retrospective will be the first opportunity to see them.
唐纳德·里奇(Donald Richie)曾提出表现主义戏剧对大岛渚的影响更加直接：在从事电影创作之前，大岛渚供职于一个上演表现主义戏剧的剧团。
Donald Richie has suggested that a more direct influence is that of expressionist theatre - before becoming a film-maker, Oshima belonged to a troupe that staged expressionist plays.
尽管身体不好，但大岛渚仍然在世，不过距离他上一次发行新片《御法度》(Gohatto, 1999)已有十年之久了，而那部影片本身也是二十世纪八十年代中期之后，大岛渚的第一部剧情长片。
Oshima himself is still living, albeit in poor health, but it is a decade since the release of his last film, Gohatto (1999), which itself was his first fiction feature since the mid-1980s.
尽管身体不好，但大岛渚仍然在世，不过距离他上一次发行新片《御法度》(Gohatto, 1999)已有十年之久了，而那部影片本身也是二十世纪八十年代中期之后，大岛渚的第一部剧情长片。
Oshima himself is still living, albeit in poor health, but it is a decade since the release of his last film, Gohatto (1999), which itself was his first fiction feature since the mid-1980s.
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