The films we watch the most aren't the great classics, but the lovingly crafted Disney stories that first fired our young fertile imaginations.

我們看的最多的電影不是大片、經(jīng)典，而是第一次激發(fā)我們無限想象力的，由迪斯尼精心打造的動畫故事。

Snow White and the Seven Dwarves was the first feature length animation made by Disney in 1937

白雪公主和七個小矮人是迪斯尼的第一部長篇動畫片，制作于1937年。

Disney’s animated movies have gripped the imaginations of every generation since the release of Snow White and the Seven Dwarves in 1937. Part of the reason has been simply that so many of them offer such a magical experience, presenting irresistible, versions of timeless stories, beautifully realised.

從1973發(fā)行《白雪公主和七個小矮人》以來，迪斯尼的動畫電影吸引了每一代人的想象力。部分原因當(dāng)然是，其中許多電影為我們提供了一段神奇的經(jīng)歷，令人無法抗拒，以及永恒的故事版本，美好愿望的實現(xiàn)。

But just as important is the fact that we tend to see them for the first time at a very young, impressionable age – and they then stay with us for ever.

但另一個重要原因是，我們在很小的時候便第一次嘗試看動畫片，那時我們無憂無慮，然后動畫便永遠(yuǎn)伴隨著我們。

The shocking death of Bambi’s mother, for instance, lurks among the earliest memories of many of us. More happily, who, even 30 or 40 years after first hearing it, can forget Baloo’s joyous song The Bare Necessities in The Jungle Book (1967)?

比如說小鹿斑比的媽媽之死讓我們很震驚，其中隱藏著我們許多人的記憶。甚至是在第一次看過之后的三四十年，我們都會很開心。我們能忘掉《森林王子》（1967）中巴魯?shù)纳畋匦杵贰栋汪數(shù)目鞓犯枨穯幔?/SPAN>

The arrival of home video 30 or so years ago (and subsequently DVD) has also had an enormous effect on our consumption of Disney. A mini-library of favourites sits somewhere near the TV in many, many homes.

大約三十年前家庭錄像產(chǎn)生（接著是DVD），在我們觀看迪斯尼動畫中，它仍然起著很大作用。許多家庭的電視機前都有一個迷你影迷團(tuán)。

Indeed, it occurred to me recently that, for all my love of the great film classics, from Citizen Kane through Powell & Pressburger to modern masters such as Scorsese and Herzog, the films I have probably watched the most (because I have young kids) are Cinderella, The Jungle Book and Mulan.

說實在話，最近我突然想起，我喜歡的所有經(jīng)典大片，從《公民凱恩》到《鮑威爾和斯伯格》再到現(xiàn)代大師如斯科塞斯和赫佐格的作品。我看的最多的是《灰姑娘》和《森林王子和花木蘭》（因為我有小孩）。

Disney has become so huge a part of popular culture that it has shaped our perception of age-old stories.

迪斯尼已成為流行文化的重要組成部分，它塑造了我們心目中對于古老故事的理解。

When I spoke last week to the makers of Tangled – the 50th Disney animation – they were acutely aware of the responsibility they were taking on in bringing the Rapunzel story to the big screen.

上周我和迪斯尼的第五十部動畫片《長發(fā)公主》的制作者交談時，他們說，在將《長發(fā)公主》搬上大銀幕時，真正意識到了他們肩負(fù)的責(zé)任。

Co-director Byron Howard said: “What happens with a Disney film, when they make a classic tale, that version of the story becomes the definitive version. For instance, when you think of the Little Mermaid now, you think of [Disney animator] Glen Keane’s version of Ariel. Aladdin, Beauty and the Beast – the same thing.”

聯(lián)合董事拜倫?霍華德曾說：“對于迪斯尼來說，當(dāng)它制作一部經(jīng)典故事時，這個版本將成為該故事的最終版本。比如說，現(xiàn)在想到《小美人魚》，你想到的是迪斯尼制作的動畫，格倫?基恩版的《美人魚》?！睹琅c野獸》也是這樣?！?/SPAN>

Their goal with Tangled, said Howard, was to make a very contemporary film that was also so timeless that, 200 years from now, it would still be the definitive version of Rapunzel.

霍華德說，他們關(guān)于《長發(fā)公主》的目標(biāo)就是打造一部能夠永久流傳的當(dāng)代影片，從現(xiàn)在起兩百年，一直是《長發(fā)公主》的終極版本。

Which is exactly what Walt would have wanted.

而這正是迪斯尼所希望的。