英语翻译“I hope you won’t look down on women in the future” (Yuk

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.

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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.