娛樂英語(yǔ)在好萊塢世界還是白的男的還是直的

1、小編給你一個(gè)美聯(lián)英語(yǔ)官方免費(fèi)試聽課申請(qǐng)鏈接： HYPERLINK http:/ http:/ http:/美聯(lián)英語(yǔ)提供：娛樂英語(yǔ) 在好萊塢 世界還是白的男的還是直的The numbers are stunning: From 2007 through 2014, women made up only 30.2 percent of all speaking or named characters in the 100 top-grossing fictional films released in the United States. Thats bad enough to repeat: F

2、or every 2.3 male characters who say “Dude,” there is just one woman saying, “Hello?!”這些數(shù)字很驚人：從2007年到2014年，在美國(guó)票房收入前100位的虛構(gòu)類電影中，所有有臺(tái)詞或有名字的角色里女性只占30.2%。換個(gè)說法也同樣糟糕：電影里每出現(xiàn)2.3個(gè)男性角色開口說“伙計(jì)”，才會(huì)出現(xiàn)一個(gè)女人說，“你好”。That is one of the findings in a study, “Inequality in 700 Popular Films,” being released on Wednesday,

3、 that looks at gender, race, ethnicity and what one of the reports researchers, Stacy L. Smith, describes as an “epidemic” when it comes to lack of diversity. The report was produced by the Media, Diversity & Social Change Initiative at the University of Southern Californias Annenberg School for Com

4、munication and Journalism.這是周三發(fā)布的一項(xiàng)題為“700部大眾電影中的不平等現(xiàn)象”報(bào)告中的一個(gè)發(fā)現(xiàn)，這項(xiàng)調(diào)查關(guān)注性別、種族、民族問題。同時(shí)，報(bào)告的研究者之一，斯塔西L史密斯(Stacy L. Smith)還提出了所謂“流行病”的概念，意指缺乏多樣性。該報(bào)告由南加利福尼亞大學(xué)安娜堡傳播與新聞學(xué)院媒體的多樣性與社會(huì)變革倡導(dǎo)組織( Media, Diversity & Social Change Initiative)制作。The report is crammed with numbers that show the extent of this misrepresent

5、ation when movies like “Captain America: The Winter Soldier” hit screens:這項(xiàng)報(bào)告提供了大量數(shù)字，表明美國(guó)隊(duì)長(zhǎng)2(Captain America: The Winter Soldier)等大片中存在的歪曲之處：The movies are white: 73.1 percent of all the speaking or named characters in the top 100 movies were white.電影是白人的：前100部票房大片中，所有有臺(tái)詞或有名字的角色里有73.1%是白人。The movies

6、 are straight: Only 19 total characters were lesbian, gay or bisexual none were transgender.電影是異性戀的：只有19%的角色是女同性戀、男同性戀或雙性戀，沒有跨性別者。The movies are young: Only 19.9 percent of female characters were 40 to 64 years old.電影是年輕的：只有19.9%的女性角色是40到64歲。The movies are male: Only 1.9 percent of the movies were d

7、irected by women.電影是男性的：只有1.9%的電影由女性導(dǎo)演。Even many casual observers may now be aware of the hurdles facing female directors, particularly when they try to storm the big studios. Yet those problems, as this latest study confirms, are simply part of a far larger picture. In 2014, not a single title in t

8、he top-grossing 100 fictional films starred a woman over 45. One reason is that Meryl Streep, the hardest-working woman in cinema, had only supporting roles, including in the Disney musical “Into the Woods.” That fractured fairy tale at least featured several women in pivotal roles, which isnt the c

9、ase in most movies, family-friendly or not. According to the “Inequality” report, for 2014, “girls/women make up less than a third of all speaking characters on screen and less than a quarter of the leads/co-leads driving the story lines.” For instance, that year, women made up only 21.8 percent of

10、the speaking or named characters in action and adventure movies, where male superheroes and all manner of other bros dominate.甚至很多隨意的觀察者都能注意到女性導(dǎo)演所面臨的困難，特別是她們需要和大制片公司打交道的時(shí)候。然而正如這項(xiàng)調(diào)查所證實(shí)的，這些問題只是更大的問題中的一部分。2014年，在前100部票房大片中，沒有一部是以年過45歲的女人為主人公的。原因之一是電影界最勤奮的女人梅麗爾斯特里普(Meryl Streep)當(dāng)年只演了一些配角，包括迪斯尼的音樂片魔法黑森林(

11、Into the Woods)這個(gè)支離破碎的童話故事里至少還有幾個(gè)主角是女人，大多數(shù)電影卻并非如此，不管是不是合家歡的類型。根據(jù)這項(xiàng)“不平等現(xiàn)象”報(bào)告，2014年，“在有臺(tái)詞的角色中，女孩/女人只占1/3，在推動(dòng)故事發(fā)展的主角/聯(lián)合主角中，女性角色不到1/4”比如，2014年，在動(dòng)作類和冒險(xiǎn)類電影中有臺(tái)詞或名字的角色里，女人只占21.8%，占統(tǒng)治地位的還是男性超級(jí)英雄和各種弟兄們。A lot of the information in the report isnt new, even if it remains newsworthy. Among other things, the find

12、ings are a blunt reminder that female-driven blockbusters like “The Hunger Games” and African-American dramas like “Selma” remain exceptions in a largely homogeneous field. Art may be a mirror of life, but it is often a badly distorted one in mainstream American cinema.這項(xiàng)報(bào)告中的很多信息都并不新鮮，不過也仍然頗具新聞價(jià)值。比如

13、，這些發(fā)現(xiàn)直率地提醒人們，饑餓游戲(The Hunger Games)等由女性主導(dǎo)的大片和塞爾瑪(Selma)等非裔美國(guó)人題材的情節(jié)片在這個(gè)同質(zhì)化嚴(yán)重的領(lǐng)域內(nèi)仍然屬于異數(shù)。藝術(shù)或許是生活的反映，但在美國(guó)主流電影界，它也常常是一種扭曲的反映。And, while women may be about half of the population and for years have bought half the movie tickets they remain a persistent minority on screen. The same is true of certain races

14、 and ethnicities, despite the utopianism of movies like the “Fast & Furious” series. The report found that 4.9 percent of all speaking or named characters in the 100 top-grossing movies of 2014 were “Hispanic/Latino.” As the report points out, this low number is at odds with off-screen demographics:

15、 Latinos were 17.1 percent of the population in 2013. And in 2014, they were also 25 percent of what the industry calls frequent moviegoers.雖然女性或許占人口的半數(shù)，同時(shí)多年來也是一半票房的貢獻(xiàn)者，但她們?nèi)匀皇倾y幕上的弱勢(shì)群體。同樣，對(duì)于某些種族和民族也是如此，盡管速度與激情(Fast & Furious)系列等影片中有著烏托邦般的景象。這項(xiàng)報(bào)告表明，2014年票房前100位的電影中，有臺(tái)詞或名字的角色里，只有4.9%是“西班牙/拉丁裔”。這項(xiàng)報(bào)告指出，這

16、么低的數(shù)字與生活中的人口調(diào)查數(shù)據(jù)完全相悖。2013年，拉丁人口占據(jù)全國(guó)的17.1%，2014年，他們占電影業(yè)所謂的“經(jīng)常觀影者”人群的25%。The “Inequality” report comes at a time of increasing criticism about the industrys on-screen and off-screen practices, giving further empirical support to what has become a steady stream of righteous complaint. In May, the Ameri

17、can Civil Liberties Union sent letters to state and federal agencies seeking an investigation of the hiring practices of the major Hollywood studios, networks and talent agencies. That same month, Senator Barbara Boxer, Democrat of California, and four other female senators sent a letter to the majo

18、r studios asking them to respond to an earlier Annenberg/University of Southern California study that found that only 4.1 percent of top-grossing films over the last decade had female directors.這是一個(gè)對(duì)電影工業(yè)在銀幕內(nèi)外做法的批評(píng)越來越大聲的時(shí)代，這份關(guān)于“不平等現(xiàn)象”的報(bào)告，對(duì)于源源不斷的正義抱怨提供了進(jìn)一步的來自經(jīng)驗(yàn)主義的支持。五月，美國(guó)民權(quán)同盟(American Civil Liberties

19、Union)給州立和聯(lián)邦機(jī)構(gòu)發(fā)去信函，要求調(diào)查好萊塢主要制片公司、網(wǎng)絡(luò)和人才經(jīng)紀(jì)機(jī)構(gòu)的雇員情況。同月，加利福尼亞民主黨參議員芭芭拉伯克瑟(Barbara Boxer)以及其他四位女性參議員發(fā)信函給各大制片公司，要求他們對(duì)安娜堡/南加利福尼亞大學(xué)的另一項(xiàng)更早期發(fā)表的研究做出回應(yīng)，該項(xiàng)研究指出，在過去10年的100部頂級(jí)票房大片中，只有4.1%是由女導(dǎo)演執(zhí)導(dǎo)的。The “Inequality” report is part of a growing wealth of data about the industrys practices that are, study by study, maki

20、ng the case for change. Dr. Smith also helped write that earlier study and was one of the principal researchers along with Marc Choueiti and Katherine Pieper on a widely publicized multiyear study done with the Sundance Institute and Women in Film on the crisis facing female directors. For the “Ineq

21、uality” study, they were joined by a team that swelled to an estimated 70 to 80 people; most of the team members are undergraduate students. Dr. Smith said on Friday that it was one of her students who had inspired her to start looking at the representation of lesbian, gay, bisexual and transgender

22、characters, which is in keeping with studies that show that young Americans tend to be liberal in their political and social views. (She declined to name the student, citing privacy concerns.)通過這份“不平等現(xiàn)象”報(bào)告和其他的類似研究，關(guān)于電影工業(yè)的大量數(shù)據(jù)不斷累積，成為了推動(dòng)行業(yè)變革的力量。史密斯博士和馬克庫(kù)埃蒂(Marc Choueiti)及卡瑟琳娜皮珀(Katherine Pieper)同為核心調(diào)查

23、者，參與了圣丹斯學(xué)院與“電影中的女人”項(xiàng)目的另一項(xiàng)廣為宣傳、歷時(shí)多年的研究，內(nèi)容是關(guān)于女性導(dǎo)演所面臨的危機(jī)，她還協(xié)助撰寫了研究的早期報(bào)告。為了做這項(xiàng)“不平等現(xiàn)象”研究，他們?nèi)粎⑴c到一個(gè)團(tuán)隊(duì)中去，這個(gè)團(tuán)隊(duì)最后擴(kuò)展為大約七八十人，其中大部分是大學(xué)在校生。周五，史密斯博士說，她的一位學(xué)生給了她啟發(fā)，讓她開始研究電影中的男女同性戀、雙性戀和跨性別角色，這與多項(xiàng)研究的結(jié)果是相吻合的美國(guó)年輕人傾向在政治與社會(huì)觀點(diǎn)方面持有自由主義立場(chǎng)（出于隱私考慮，她沒有透露這位學(xué)生的名字）。As that outspoken student suggests, moviegoers are doing their ac

24、tivist part, as exemplified by Every Single Word, a Tumblr by Dylan Marron that uses videos to underline the (often few) words spoken by nonwhite movie characters. What Every Single Word underscores is that the roles often available to nonwhite performers think of the ubiquitous black friend, the Latina waitress and the A