在好萊塢 世界還是白的男的還是直的.

　　在好萊塢 世界還是白的男的還是直的。此語一出，小編有點不太明白了。下面，我們就來看一下下面的文章，來了解一下具體的情況是怎樣的吧。

　　The numbers are stunning: From 2007 through 2014, women made up only 30.2 percent of allspeaking or named characters in the 100 top-grossing fictional films released in the UnitedStates. That’s bad enough to repeat: For every 2.3 male characters who say “Dude,” there isjust one woman saying, “Hello?!”

　　這些數(shù)字很驚人：從2007年到2014年，在美國票房收入前100位的虛構(gòu)類電影中，所有有臺詞或有名字的角色里女性只占30.2%。換個說法也同樣糟糕：電影里每出現(xiàn)2.3個男性角色開口說“伙計”，才會出現(xiàn)一個女人說，“你好”。

　　That is one of the findings in a study, “Inequality in 700 Popular Films,” being released onWednesday, that looks at gender, race, ethnicity and what one of the report’s researchers,Stacy L. Smith, describes as an “epidemic” when it comes to lack of diversity. The report wasproduced by the Media, Diversity & Social Change Initiative at the University of SouthernCalifornia’s Annenberg School for Communication and Journalism.

　　這是周三發(fā)布的一項題為“700部大眾電影中的不平等現(xiàn)象”報告中的一個發(fā)現(xiàn)，這項調(diào)查關(guān)注性別、種族、民族問題。同時，報告的研究者之一，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。該報告由南加利福尼亞大學安娜堡傳播與新聞學院媒體的多樣性與社會變革倡導組織( Media,Diversity & Social Change Initiative)制作。

　　The report is crammed with numbers that show the extent of this misrepresentation whenmovies like “Captain America: The Winter Soldier” hit screens:

　　這項報告提供了大量數(shù)字，表明《美國隊長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 100movies were white.

　　電影是白人的：前100部票房大片中，所有有臺詞或有名字的角色里有73.1%是白人。

　　The movies are straight: Only 19 total characters were lesbian, gay or bisexual — none weretransgender.

　　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 directed by women.

　　電影是男性的：只有1.9%的電影由女性導演。

　　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 studyconfirms, are simply part of a far larger picture. In 2014, not a single title in the top-grossing100 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 theWoods.” That fractured fairy tale at least featured several women in pivotal roles, which isn’t thecase 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 aquarter of the leads/co-leads driving the story lines.” For instance, that year, women made uponly 21.8 percent of the speaking or named characters in action and adventure movies, wheremale 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候。然而正如這項調(diào)查所證實的，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)當年只演了一些配角，包括迪斯尼的音樂片《魔法黑森林》(Into the Woods)——這個支離破碎的童話故事里至少還有幾個主角是女人，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“不平等現(xiàn)象”報告，2014年，“在有臺詞的角色中，女孩/女人只占1/3，在推動故事發(fā)展的主角/聯(lián)合主角中，女性角色不到1/4”比如，2014年，在動作類和冒險類電影中有臺詞或名字的角色里，女人只占21.8%，占統(tǒng)治地位的還是男性超級英雄和各種弟兄們。

　　A lot of the information in the report isn’t new, even if it remains newsworthy. Among otherthings, the findings are a blunt reminder that female-driven blockbusters like “The HungerGames” and African-American dramas like “Selma” remain exceptions in a largely homogeneousfield. Art may be a mirror of life, but it is often a badly distorted one in mainstream Americancinema.

　　這項報告中的很多信息都并不新鮮，不過也仍然頗具新聞價值。比如，這些發(fā)現(xiàn)直率地提醒人們，《饑餓游戲》(The Hunger Games)等由女性主導的大片和《塞爾瑪》(Selma)等非裔美國人題材的情節(jié)片在這個同質(zhì)化嚴重的領(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 themovie tickets — they remain a persistent minority on screen. The same is true of certainraces and ethnicities, despite the utopianism of movies like the “Fast & Furious” series. Thereport found that 4.9 percent of all speaking or named characters in the 100 top-grossingmovies of 2014 were “Hispanic/Latino.” As the report points out, this low number is at oddswith off-screen demographics: Latinos were 17.1 percent of the population in 2013. And in2014, 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)，同時多年來也是一半票房的貢獻者，但她們?nèi)匀皇倾y幕上的弱勢群體。同樣，對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。這項報告表明，2014年票房前100位的電影中，有臺詞或名字的角色里，只有4.9%是“西班牙/拉丁裔”。這項報告指出，這么低的數(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 industry’s on-screenand off-screen practices, giving further empirical support to what has become a steadystream of righteous complaint. In May, the American Civil Liberties Union sent letters to stateand federal agencies seeking an investigation of the hiring practices of the major Hollywoodstudios, networks and talent agencies. That same month, Senator Barbara Boxer, Democrat ofCalifornia, and four other female senators sent a letter to the major studios asking them torespond to an earlier Annenberg/University of Southern California study that found that only4.1 percent of top-grossing films over the last decade had female directors.

　　這是一個對電影工業(yè)在銀幕內(nèi)外做法的批評越來越大聲的時代，這份關(guān)于“不平等現(xiàn)象”的報告，對于源源不斷的正義抱怨提供了進一步的來自經(jīng)驗主義的支持。五月，美國民權(quán)同盟(American Civil Liberties Union)給州立和聯(lián)邦機構(gòu)發(fā)去信函，要求調(diào)查好萊塢主要制片公司、網(wǎng)絡和人才經(jīng)紀機構(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，要求他們對安娜堡/南加利福尼亞大學的另一項更早期發(fā)表的研究做出回應，該項研究指出，在過去10年的100部頂級票房大片中，只有4.1%是由女導演執(zhí)導的。

　　The “Inequality” report is part of a growing wealth of data about the industry’s practices thatare, study by study, making the case for change. Dr. Smith also helped write that earlier studyand was one of the principal researchers — along with Marc Choueiti and Katherine Pieper — ona widely publicized multiyear study done with the Sundance Institute and Women in Film onthe crisis facing female directors. For the “Inequality” study, they were joined by a team thatswelled to an estimated 70 to 80 people; most of the team members are undergraduatestudents. Dr. Smith said on Friday that it was one of her students who had inspired her tostart looking at the representation of lesbian, gay, bisexual and transgender characters, whichis in keeping with studies that show that young Americans tend to be liberal in their politicaland social views. (She declined to name the student, citing privacy concerns.)

　　通過這份“不平等現(xiàn)象”報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，成為了推動行業(yè)變革的力量。史密斯博士和馬克·庫埃蒂(Marc Choueiti)及卡瑟琳娜·皮珀(Katherine Pieper)同為核心調(diào)查者，參與了圣丹斯學院與“電影中的女人”項目的另一項廣為宣傳、歷時多年的研究，內(nèi)容是關(guān)于女性導演所面臨的危機，她還協(xié)助撰寫了研究的早期報告。為了做這項“不平等現(xiàn)象”研究，他們?nèi)粎⑴c到一個團隊中去，這個團隊最后擴展為大約七八十人，其中大部分是大學在校生。周五，史密斯博士說，她的一位學生給了她啟發(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，這與多項研究的結(jié)果是相吻合的——美國年輕人傾向在政治與社會觀點方面持有自由主義立場(出于隱私考慮，她沒有透露這位學生的名字)。

　　As that outspoken student suggests, moviegoers are doing their activist part, as exemplifiedby 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 theroles often available to nonwhite performers — think of the ubiquitous black friend, the Latinawaitress and the Asian storekeeper — are often little more than casting tokenism. The pointisn’t that the mainstream studios are deliberately racist or sexist. As Mr. Marron said in aninterview last month in The Washington Post: “I’m not saying that any of these films areracist. I’m not saying that any of these filmmakers are racist. I’m saying that the system thatthey’re contributing has some deeply racist practices.”

　　這位坦率的學生說，觀影者正在采取行動。比如說，Tumblr上有個名叫“每字每句”(Every Single Word)的賬號，是由迪倫·馬龍(Dylan Marron)維護的，內(nèi)容是電影中非白人角色說臺詞的視頻，他們的臺詞通常寥寥無幾?！懊孔置烤洹睆娬{(diào)的是，那些非白人演員經(jīng)常能夠得到的角色無非都是象征性的——比如普普通通的黑人朋友、拉丁美裔女招待和亞洲小店主。馬龍并不認為主流制片公司是刻意的種族主義或性別歧視。在上個月接受《華盛頓郵報》(The Washington Post)采訪時，他說：“我不是說這些電影都是種族主義的，我也不是說這些電影人是種族主義者。我是說，他們?yōu)橹ぷ鞯恼麄€體系有著根深蒂固的種族主義行為?！?/p>

　　The question now for anyone who loves movies is obvious: What next?

　　對于熱愛電影的人來說，問題很明顯了：接下來應該怎么辦?