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The TWO MAIN TENDENCIES
If film grows out of photography, the realistic and formative ten-dencies must be operative in it also.Is it by sheer accident that the two tendencies manifested themselves side by side immediately after the rise of the medium? As if to encompass the whole range of cinematic endeavors at the outset, each went the limit in exhausting its own possibilities.Their prototypes were Lumiere, a strict realist, and Melies, who gave free rein to his artistic imagination.The films they made embody, so to speak, thesis and antithesis in a Hegelian sense.
Lumiere's films contained a true innovation, as compared with the repertoire of the zootropes or Edison's peep boxes ; they pictured everyday life after the manner of photographs.
Some of his early pictures, such as Baby's Breakfast ( Le Dejeuner de bebe) or The Card Players (La Partie d'ecarte), testify to the amateur photographers's delight in family idyls and genre scenes.
And there was Teasing the Gardener (L'Arroseur arrose), which enjoyed immense popularity because it elicited from the flow of everyday life a proper story with a funny climax to boot.
A gardener is watering flowers and, as he unsuspectingly proceeds, an impish boy steps on the hose, releasing it at the very moment when his perplexed victim examines the dried-up nozzle.
Water squirts out and hits the gardener smack in the face.
Thet denouement is true to style, with the gerdener chasing and spanking the boy.
This film, the germ cell and archetype of all film comedies to come, represented an imaginative attempt on the part of Lumiere to develop photog-raphy into a means of story telling.
Yet the story was just a real-life incident.
And it was precisely its photographic veracity which made Maxim Gorki undergo a shock-like experience.
You think, he wrote about Teasing the Gardener, the spray is going to hit you too, and instinctively shrink back.
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