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. That’s bad enough to repeat: For every 2.3 male characters who say “Dude,” there is just one woman saying, “Hello?!”

這些數字很驚人：從2007年到2014年，在美國票房收入前100位的虛構類電影中，所有有臺詞或有名字的角色裏女性只佔30.2%。換個說法也同樣糟糕：電影裏每出現2.3個男性角色開口說“夥計”，纔會出現一個女人說，“你好”。

That is one of the findings in a study, “Inequality in 700 Popular Films,” being released on Wednesday, 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 was produced by the Media, Diversity & Social Change Initiative at the University of Southern California’s Annenberg School for Communication and Journalism.

這是週三發佈的一項題爲“700部大衆電影中的不平等現象”報告中的一個發現，這項調查關注性別、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)製作。

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

這項報告提供了大量數字，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 100 movies 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裏有73.1%是白人。

The movies 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 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 study confirms, are simply part of a far larger picture. In 2014, not a single title in the 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 isn’t the case 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 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演所面臨的困難，特別是她們需要和大製片公司打交道的時候。然而正如這項調查所證實的，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歲的女人爲主人公的。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裏至少還有幾個主角是女人，大多數電影卻並非如此，不管是不是閤家歡的類型。根據這項“不平等現象”報告，2014年，“在有臺詞的角色中，女孩/女人只佔1/3，在推動故事發展的主角/聯合主角中，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裏，女人只佔21.8%，佔統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 other things, the findings 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.

這項報告中的很多信息都並不新鮮，不過也仍然頗具新聞價值。比如，這些發現直率地提醒人們，《飢餓遊戲》(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片在這個同質化嚴重的領域內仍然屬於異數。藝術或許是生活的反映，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 the movie tickets — they remain a persistent minority on screen. The same is true of certain races 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: 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，同時多年來也是一半票房的貢獻者，但她們仍然是銀幕上的弱勢羣體。同樣，對於某些種族和民族也是如此，儘管《速度與激情》(Fast & Furious)系列等影片中有着烏托邦般的景象。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裏，只有4.9%是“西班牙/拉丁裔”。這項報告指出，這麼低的數字與生活中的人口調查數據完全相悖。2013年，拉丁人口占據全國的17.1%，2014年，他們佔電影業所謂的“經常觀影者”人羣的25%。

The “Inequality” report comes at a time of increasing criticism about the industry’s on-screen and off-screen practices, giving further empirical support to what has become a steady stream of righteous complaint. In May, the American 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 major 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.

這是一個對電影工業在銀幕內外做法的批評越來越大聲的時代，這份關於“不平等現象”的報告，對於源源不斷的正義抱怨提供了進一步的來自經驗主義的支持。五月，美國民權同盟(American Civil Liberties Union)給州立和聯邦機構發去信函，要求調查好萊塢主要製片公司、網絡和人才經紀機構的僱員情況。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信函給各大製片公司，要求他們對安娜堡/南加利福尼亞大學的另一項更早期發表的研究做出迴應，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%是由女導演執導的。

The “Inequality” report is part of a growing wealth of data about the industry’s practices that are, study by study, making 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 “Inequality” 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 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“不平等現象”報告和其他的類似研究，關於電影工業的大量數據不斷累積，成爲了推動行業變革的力量。史密斯博士和馬克·庫埃蒂(Marc Choueiti)及卡瑟琳娜·皮珀(Katherine Pieper)同爲核心調查者，參與了聖丹斯學院與“電影中的女人”項目的另一項廣爲宣傳、歷時多年的研究，內容是關於女性導演所面臨的危機，她還協助撰寫了研究的早期報告。爲了做這項“不平等現象”研究，他們三位參與到一個團隊中去，這個團隊最後擴展爲大約七八十人，其中大部分是大學在校生。週五，史密斯博士說，她的一位學生給了她啓發，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（出於隱私考慮，她沒有透露這位學生的名字）。

As that outspoken student suggests, moviegoers are doing their activist part, as 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 Asian storekeeper — are often little more than casting tokenism. The point isn’t that the mainstream studios are deliberately racist or sexist. As Mr. Marron said in an interview last month in The Washington Post: “I’m not saying that any of these films are racist. I’m not saying that any of these filmmakers are racist. I’m saying that the system that they’re contributing has some deeply racist practices.”

這位坦率的學生說，觀影者正在採取行動。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。“每字每句”強調的是，那些非白人演員經常能夠得到的角色無非都是象徵性的——比如普普通通的黑人朋友、拉丁美裔女招待和亞洲小店主。馬龍並不認爲主流製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)採訪時，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，他們爲之工作的整個體系有着根深蒂固的種族主義行爲。”

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

對於熱愛電影的人來說，問題很明顯了：接下來應該怎麼辦？