英语翻译“I hope you won’t look down on women in the future” (Yukari,“Beauty Investigator”)Faint ripples of Yukari’s direct influence have reached as far as American television,through the stunt double work of her protege Sophia Crawfo

英语翻译“I hope you won’t look down on women in the future” (Yukari,“Beauty Investigator”)Faint ripples of Yukari’s direct influence have reached as far as American television,through the stunt double work of her protege Sophia Crawfo
英语翻译
“I hope you won’t look down on women in the future” (Yukari,“Beauty Investigator”)
Faint ripples of Yukari’s direct influence have reached as far as American television,through the stunt double work of her protege Sophia Crawford,and her own film work has been cited as a possible model for promoting the sport of women’s boxing.She was active as a martial artist and action star a decade before female action leads became popular in the West.Yukari’s film career probably represented few larger messages or themes,although when she is considered alongside her contemporaries,the very hard,androgynous edge she brought to many of her characters seems quite distinctively hers.It is this quality that elevates her brief screen appearances.
At her best she displayed a ferocious physical talent that,in conjunction with intense focus and control,reflects the Japanese martial art tradition,as well as the other forms that influenced her.She never had the opportunity to act in lavish productions with elaborate special effects.Instead,she introduced intensely personal violence to ordinary situations.Scenes such as a woman approaching middle age wearing military camouflage stabbing a bad guy in the neck then watching coldly as he bleeds out in a carotid spray (“The Golden Nightmare,” 1998),or a younger business attired woman yelling (in English!) “Get the fuck out of here” while literally kicking a colleague through her office door with a crescent kick to the face (“Spiritually A Cop,” 1991) are uniquely Yukari’s.Such moments are enhanced by knowledge of her emphasis on full contact realism.Her characters typically don’t sing,dance or please others.Apart from thoroughly trashing gender role stereotypes,in her better parts she also stirred up an emotive mixture of control,suffering and violence.Her remarkable kicking adds an unsettlingly sensual athleticism to already highly charged scenes.
It has been said that an actor may leave clues to their personality by their choice of parts.If so,Yukari’s on-screen pattern of reckless courage and dogged commitment in the service of other people and causes - whether good or bad - suggest a lone soldier,single minded and relentless.It seems to fit her.

英语翻译“I hope you won’t look down on women in the future” (Yukari,“Beauty Investigator”)Faint ripples of Yukari’s direct influence have reached as far as American television,through the stunt double work of her protege Sophia Crawfo
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“I hope you won’t look down on women in the future” (Yukari,“Beauty Investigator”)
Faint ripples of Yukari’s direct influence have reached as far as American television,through the stunt double work of her protege Sophia Crawford,and her own film work has been cited as a possible model for promoting the sport of women’s boxing.She was active as a martial artist and action star a decade before female action leads became popular in the West.Yukari’s film career probably represented few larger messages or themes,although when she is considered alongside her contemporaries,the very hard,androgynous edge she brought to many of her characters seems quite distinctively hers.It is this quality that elevates her brief screen appearances.
“希望你今后不会看不起女性.”（大岛由加里在《美女调查员》中语）
通过她的弟子索菲亚∙克罗福德的替身惊险演出作品,由加里的直接影响余波已经远及美国电视,并且她自己的电影作品也已经被引述为推广女子拳击运动的一个可能的榜样.在西方女性动作主角开始流行十年之前,她就是一个活跃的武术艺术家和动作明星.虽然由加里在电影生涯中并没表达很多宏大的含义或主题,但是当她被与其同代人并列考虑时,她给许多她所表演的角色带来的的那种非常强硬、两性兼有的棱角看起来是她自己相当独特的风格.正是那种特质提升了她简短出镜的地位.
At her best she displayed a ferocious physical talent that,in conjunction with intense focus and control,reflects the Japanese martial art tradition,as well as the other forms that influenced her.She never had the opportunity to act in lavish productions with elaborate special effects.Instead,she introduced intensely personal violence to ordinary situations.Scenes such as a woman approaching middle age wearing military camouflage stabbing a bad guy in the neck then watching coldly as he bleeds out in a carotid spray (“The Golden Nightmare,” 1998),or a younger business attired woman yelling (in English!) “Get the fuck out of here” while literally kicking a colleague through her office door with a crescent kick to the face (“Spiritually A Cop,” 1991) are uniquely Yukari’s.Such moments are enhanced by knowledge of her emphasis on full contact realism.Her characters typically don’t sing,dance or please others.Apart from thoroughly trashing gender role stereotypes,in her better parts she also stirred up an emotive mixture of control,suffering and violence.Her remarkable kicking adds an unsettlingly sensual athleticism to already highly charged scenes.
她表演的最佳之处在于展现出了一种凶猛的身体天赋,这连同强烈的集中力合控制力相结合,反映了日本武术传统及其它对她产生影响的武术形式.她从来没有机会在有着大量特别效果的奢华作品中出演.相反,她在一般的情景中引入极端的个人暴力,如一个身穿迷彩服的临近中年的女人用刀刺入一个坏蛋的脖子,然后冷酷地看着他颈动脉鲜血喷溅（《金色噩梦》,1998）,或是一个商界人士打扮的稍年轻些的女人边（用英语）大喊“滚他妈的蛋”,一边真的把一个同事踢出办公室门外,在他脸上踢出个月牙形的印子（《驳脚差佬》,1991）.这样的场景唯由加里所独有.这种短暂的情形由于对她所强调的完全解除的现实感而得到加强.她所表演的人物通常都不唱歌、跳舞或取悦他人.她除了彻底粉碎弃性别角色的刻板印象之外,她较好的表演部分煽起了控制、艰辛和暴力和情感混合.她非凡的踢功使本来已经高度紧张的场面增加了一种令人不安的视觉体育感.
It has been said that an actor may leave clues to their personality by their choice of parts.If so,Yukari’s on-screen pattern of reckless courage and dogged commitment in the service of other people and causes - whether good or bad - suggest a lone soldier,single minded and relentless.It seems to fit her.
有人说,一个演员可以通过所选择演出的部分,留下关于他们个性的的线.如果真如此,那么由加里在屏幕上的表现出的那种为了别人和事业而不顾后果的勇敢和顽强的执着,不管是好坏,表明她是个孤独的士兵,一味坚持己见,冷酷无情.这种描述似乎适合她的性格.

“我希望你将来不会歧视女性。”（“美女侦探”Yukari说道。）通过被保人Sophia Crawford的惊险双人作品，Yukari的直接影响甚至余波远及美国电视，并且她自己的影视作品也已经被引述为推广女子拳击运动的一个可能的榜样。在西方女性动作主角开始流行的十年前，她就以武术艺术家、动作明星的身份活跃着。尽管当她被认为与她同时代的人并列时，她赋予许多角色的那种非常强硬、中性的棱角看起来是她自己独...

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“我希望你将来不会歧视女性。”（“美女侦探”Yukari说道。）通过被保人Sophia Crawford的惊险双人作品，Yukari的直接影响甚至余波远及美国电视，并且她自己的影视作品也已经被引述为推广女子拳击运动的一个可能的榜样。在西方女性动作主角开始流行的十年前，她就以武术艺术家、动作明星的身份活跃着。尽管当她被认为与她同时代的人并列时，她赋予许多角色的那种非常强硬、中性的棱角看起来是她自己独特的风格，但Yukari的电影事业可能并没表达多宏大的含义或主题。正是那种中性的特质提升了她简短的出镜。
她极具吸引力地展现了一种凶猛的身体天赋，这连同强烈的集中与控制，反映了日本武术传统及影响她的其他武术形式。她从没有机会在充斥着精心制作的特效的作品中出演，而是极力将个人暴力引入普通情况。像一个经过军事伪装的临近中年的女人抓住一个坏蛋的脖子然后冷酷地看着他颈动脉鲜血喷溅（“金色噩梦”，1998），或者一个穿着年轻些的女人一边（用英语）喊着“把这混蛋赶出去”一边真的把一个同事踢出办公室门外，在他脸上踢出个月牙形的印子（“驳脚差佬”，1991）这样的场景是Yukari独一无二的。 这些片段被她对充分接触真实主义的强调美化了。她饰演的角色通常不会唱歌、跳舞或取悦他人。除了抛弃性别角色的陈规旧俗，在她演得比较好的部分，她还激起了一种调动情感的控制、痛苦与暴力的混合体。她的独特的踢踹让本已经高度紧张的场景多了一分吓人的肉体强壮。
据说演员选择角色会留下他们性格的蛛丝马迹。果真如此的话，Yukari蛮勇、为其他人和事业固执投入的银幕形象——不论好坏——就展现了一个一心一意、不屈不挠的孤独士兵。这个形象似乎是适合她的。

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“我希望你不会看下来，在未来的妇女”（由香里，“美调查”）
对由香里的直接影响微弱涟漪尽可能达到美国的电视，通过她的门生索菲亚特技克劳福德双重工作，和她自己的电影作品已被作为推动女子拳击运动的可能模式引用。她活跃于武术动作明星艺术家和十年前女性的行动都会带领成为西方流行。由香里的电影生涯可能代表几个较大的邮件或主题，但同时她时，她是同时代考虑，非常辛苦，雌雄同体的边缘，她为她带来了许多人...

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“我希望你不会看下来，在未来的妇女”（由香里，“美调查”）
对由香里的直接影响微弱涟漪尽可能达到美国的电视，通过她的门生索菲亚特技克劳福德双重工作，和她自己的电影作品已被作为推动女子拳击运动的可能模式引用。她活跃于武术动作明星艺术家和十年前女性的行动都会带领成为西方流行。由香里的电影生涯可能代表几个较大的邮件或主题，但同时她时，她是同时代考虑，非常辛苦，雌雄同体的边缘，她为她带来了许多人物似乎很明显她的。正是这种品质，提升了她短暂的屏幕上亮相。
在她最好的，她表现出凶猛的物理人才，在激烈的重点和控制相结合，体现了日本武术的传统，以及是影响她的其他形式。她从来没有机会在精心制作特殊效果奢华。相反，她介绍了强烈的个人暴力行为对普通的情况。场景，如一个年近中年穿着军用迷彩在颈部刺伤坏人，然后冷冷地看着他在颈动脉出血了喷雾（“金色的恶梦”，1998），或一个年轻女子喊叫穿着在商务英语（女人！ ）“获得了这里他妈的”，而从字面上踢在她的办公室门口一位同事与红新月会踢在脸上（“精神上警察，”1991年）是唯一由香里的。这样的时刻是增强了她对现实主义强调知识的充分接触。她笔下的人物通常不会唱歌，跳舞或讨好别人。除了彻底捣毁更好的地方，她的性别角色刻板印象，也激起了她的控制，痛苦和暴力的情感的混合体。她的非凡踢增加一个已高度紧张的场面令人不安感性的运动天赋。
有人说，一个演员可以离开他们的部分线索，选择自己的个性。如果是这样，由香里的屏幕模式鲁莽的勇气和他人的困扰，造成服务承诺 - 无论是好是坏 - 建议是孤军，一心一意和不懈。这似乎适合她。

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