msg2100e管理员密码:在荧幕上我们看不到50岁以上女人的真正原因

作者：芭芭拉和夏侬·凯利

Posted: 10/19/11 10:25 PM ET

2011年10月19日

By now you've probably heard about that million dollar lawsuit against Amazon filed by an anonymous actress who claims that Internet Movie Database (which is owned by Amazon) damaged her ability to get work because it published her age. According to the Daily Dot, the lawsuit claimed:

现在你可能已经听说了，一位匿名女演员提出的告亚马逊的百万美元诉讼，她声称互联网电影数据库（亚马逊所有）损害了她获得工作的能力，因为上面公布了她的年龄。根据《每日点》，诉讼声称：

"If one is perceived to be 'over-the-hill,' i.e., approaching 40, it is nearly impossible for an up-and-coming actress, such as the plaintiff, to get work as she is thought to have less of an 'upside,' therefore, casting directors, producers, directors, agents-manager, etc. do not give her the same opportunities, regardless of her appearance or talent..."

“如果一个人被认为’已过壮年‘……接近40岁，一位积极进取的女演员，比如原告，不可能再得到工作，因为她被认为‘优势’已经很少，因此，星探、制片人、导演和经理代理机构等待，不再给她同样的机会，尽管外观出众或者富有天赋……“

I know nothing about the woman, other than that she is an Asian from Texas who claims to look young for her age. I know nothing about her resume. I have no idea whether she has talent. I don't know whether it's a legitimate lawsuit or she's just out to make a quick buck. I don't even know how old she is.

我对这个女人一无所知，除了知道她是从德克萨斯州来的亚洲人，并声称她依然很年轻。我对她的履历也一无所知，我不知道她是不是天赋异禀。我也不知道这是否是一个合法的诉讼或者她只是出来赚钱。我甚至也不知道她多大。

But what I do know is this: Put a man of a certain age up on the big screen and he's not only viable as an actor, but might generate some fantasies: George Clooney is 50. Richard Gere is 62. Pierce Brosnan: 58. Sean Connery was named the sexiest man of the year by people magazine back in 1999 when he was, I believe, 68. Viggo Mortensen is 58. Colin Firth and Hugh Grant: Both 50. And Jeremy Irons? You may not find him especially sexy, but as Pope Alexander VI in the TV series The Borgias, he gets more than his share of action. He is 62.

但是我知道的是：把一个特定年龄的男人放在大荧幕上，他不仅可以以演员身份养活自己，而且能产生一些幻想：乔治·克鲁尼 50岁了。理查德·基尔62了。皮尔斯·布鲁斯南58了。肖恩·康纳利在1999年是被《人民杂志》当选为那年最性感的男人，我想那年他68岁。维果·莫特森 58岁。科林·费斯和休·格兰特 都是50.杰瑞米·艾恩斯呢？你可能不会发现他特别性感，但是作为在电视系列剧《博尔吉亚》罗马教皇亚历山大六世，他所获得的不仅仅是演技。他62.

Now let's turn the tables: Who are the leading ladies of the same age, with the same kind of currency, the same box office draw? Can't think of many, can you? Not necessarily because they aren't equally talented as actors, or equally sexy, but because they just don't get the parts.

现在我们摊开了说：有哪个领先的女性在同样的年龄、有同种境况和同一的票房吸引力？能想起很多吗？并不是因为他们不是像他们一样的天才演员或者同样的性感，而是因为她们没有那样的身体。

There could be any number of reasons for this, none of them especially pleasant to contemplate, but what we want to focus on today is just one of them: The gender make-up of Hollywood itself.

有很多的原因，没有一个特别愉快地让人静思，但是我们今天集中在其中一个：好莱坞自身的性别构成。

For years we have decried the fact that the old guy always gets the cute girl in the movies. We have for years ranted about the schlubby guys on TV who have the slim trim wives; about the loser guys who end up with, you know, Katherine Heigl; about the sweet young things who are wooed by the guys old enough to be their grandpas.

多年来，我们谴责电影中老家伙总是能得到可爱女孩的事实。多年来，我们也嚷嚷着电视上那些有苗条修长老婆的蠢小伙，也嚷嚷和凯瑟琳·海格尔结束的失败者，也嘟哝着甜美的女孩居然被老得足以当她们爷爷的人求爱。 

You have to ask yourself: Who writes this stuff? And the answer, as we discovered when we researched our book, is this: predominantly men. Back in 2009, the Hollywood Writers Report found that women and minorities had not made any significant hiring gains since 2005, with women writers making up roughly one-quarter of the field: 28 percent of TV writers and 18 percent of film writers.Their salaries also showed a discrepancy: White men $98,875, versus women $57,151 -- for a whopping wage gap of $41,724.40.

你必须得问问你们自己：谁写出这样的东西？我们研究了我们的书本后发现答案是这样的：男性主导。早在2009年，好莱坞编剧报告发现从2005年后女性和少数民族就没有那么显著的雇佣报酬了，女编剧大约占这个领域的四分之一：电视编剧是28%，电影编剧是18%。他们的薪水也反映了差距：白人男性98875美元，同比女性57151美元——中间巨大的薪资差距是41724.4美元。

When we checked in with the their latest report, released a few months ago, we found that women's share had actually declined:

当我们查看了他们的最近几个月前的报告时，我们发现女性的份额实际上在减少：

The present report shows that women writers remain stuck at 28 percent of television employment, while their share of film employment actually declined a percentage point since the last report to 17 percent. Although the minority share of television employment increased a percentage point to 10 percent (matching the shares evident in years immediately prior to the 2007 nadir), the group's share of film employment declined to just 5 percent -- the lowest figure in at least ten years.

目前的报告显示，电视行业中女编剧坚持在28%，而电影行业她们的份额比上次报告中减少了一个百分点，到17%。尽管少数民族在电视领域的份额增加了一个百分点到10%（比2007年最低点份额比对变化明显），电影行业的团体份额减少到仅为5%——至少十年中里的最低数据。

Another study, this one by the Center for the Study of Women in Film and Television found that:

另一项女性在电影和电视中的研究中心的研究发现：

In 2010, women comprised 16 percent of all directors, executive producers, producers, writers, cinematographers, and editors working on the top 250 domestic grossing films. This represents a decline of 1 percentage point from 1998 and is even with 2009 figures.

2010年，女性组占所有国内250强创票房最高纪录电影的导演、执行制片人、制片人、编剧、摄像师和剪辑师的16%。这意味着自1998年下降1%，即使有2009年的数据。

Women accounted for 7 percent of directors in 2010, the same percentage as in 2009. This figure represents a decline of two percentage points from 1998.

2010年女导演占7%，2009年比重一样。这个数据代表了自1998年下降了2个百分点。

Likewise, a 2011 study by USC's Annenberg Center found that when it came to creative positions in general, including directing or producing, women were again grossly outnumbered. In a piece on the study for the Women's Media Center, the researchers for that study, Stacy L. Smith and Marc Choueiti, wrote:

同样，2011年的一项南加州大学中心的研究发现，往往在创造性职位，包括导演或者制片，女性数量又非常多。在妇女媒体研究中心的研究里，研究人员史黛西.L.史密斯和马克·考第写到：

Turning to behind-the-camera employees, the gender gap is far more problematic. For every one working female director, writer, or producer, there are 4.9 working males in the same above-the-line gate-keeping positions. Stated in another way, only 8 percent of directors, 13.6 percent of writers, and 19.1 percent of producers were female across the 100 top-grossing films in 2008. These numbers are unsettling, as one way to diversify images on screen may be to vary the personnel responsible for making the content. In fact, this is exactly what our results showed. When one or more females are involved directing, writing, or producing, the number of females on screen increases substantially (see Figure 1). In the case of screenwriters, the presence of at least one female on the writing team was associated with a 14.3 percent increase in the percentage of female characters on screen.

转向幕后人员，性别之间的差异更有问题。每一个工作的女导演、编剧或者制片人，就有4.9个工作的男性在同一线上项目的把关职位。换种说法，2008年100部创票房纪录的电影中，只有8%的导演，13.6%的编剧和19.1%的制片人，是女性。这些数字还不确定，作为一种分散投资方式，银幕图像可能改变负责内容人员的构成。实际上，这正是我们的结果显示的。当一个或者更多女性参与到导演、编剧或者制片中，屏幕上的女性数量就会大幅度的增加。比如电影编剧，编剧团队中至少一个女性的存在，与荧幕上女性角色一个14.3%的百分比的增加。

All of this has an impact -- three words for you: The Playboy Club, which fortunately just met its timely demise -- as the reseachers noted, not the least of which is the fact that when there's no diversity behind the camera, the women we see in front of it are not only showing a lot of skin, but often unrealistically young. (Backstage reports that women over 40 account for a mere 8 percent of characters in the 2010-11 and 2011-12 TV seasons to date).

所有这些都产生影响——给你个词：花花公子俱乐部，幸运的是刚好及时终止了——正如研究员注意到，至少一个事实是，如果幕后没有多样性，那么我们见到的荧幕前的女性就不仅仅是暴露了，而且常是不切实际的年轻。（后台报告到，在2010-11以及2011-12电视剧中40岁以上的女人仅仅占人物的8%。）

That impact goes far beyond the silver screen, as Jennifer Seibel Newsom, producer of Miss Representation points out:

荧幕上的影响远胜如此，正如《陈述小姐》的制片人詹妮弗·西贝尔·纽森指出：

And really what our culture is communicating to us is vis-a-vis the media, which is this pedagogical force of communication in our culture, is that a woman's value lies in her youth, her beauty, and her sexuality and not in her capacity to lead...

实际上，我们的文化传播到我们是通过媒体，媒体在我们的文化传播中是一种示范性的力量，女性的价值在于她的年轻、她的美貌以及她的性感，而不是她的领导能力……

Back in 2010 when Meryl Streep -- the exception who proves the rule? -- made news by starring as a sexual being in "It's Complicated," she was the subject of a cover story in Vanity Fair, which dug into the stereotypical way in which the media treat women of a certain age:

回到2010年，当梅丽尔·斯特里普——规则的例外？——在《纠结之恋》中主演一个性感的人而引起报道，她是《名利场》封面故事的主角，挖掘媒体对待一定年龄女性的刻板方式：

Any inhibitions notwithstanding, a vibrant sexuality has remained a crucial aspect of Streep's appeal, despite her advancing years and the limitations that others might try to impose in response. When Clint Eastwood cast her to star opposite him in The Bridges of Madison County, which won Streep an Oscar nomination for best actress, in 1996, his reason was simple: "She's the greatest actress in the world," he said with a shrug.

尽管存在各种禁忌，充满活力的性已经成为斯特里普吸引力的重要方面，尽管她已年迈，也有其他的限制，可能会压制这方面的反应。当1996年克林特·伊斯特伍德和她主演《廊桥遗梦》演对手戏，《廊桥遗梦》帮她赢得了奥斯卡最佳女演员提名奖，她的理由很简单：”她是世界上最好的女演员，“他耸着肩说。

That said, Streep reports, "There was a big fight over how I was too old to play the part, even though Clint was nearly 20 years older than me. The part was for a 45-year-old woman, and Clint said, 'This is a 45-year-old woman.'"

斯特里普说，”扮演那个角色我年纪太大了，是一个很大的挑战，尽管斯林特将近大我20岁。那个角色是一位45岁的女人，然后克林特说，这是一位45岁的女人。“

Old news, perhaps. But have things changed in the past 15 years? Probably not, which brings us back to that Amazon lawsuit. Frivolous or not, it makes you wonder about the biggest question of all: Does Hollywood reflect our reality -- or determine it?

可能是旧新闻了。但是过去的15年里事情有变化吗？可能没有，我们又回到亚马逊的诉讼。不管是否无聊，那可能会让你思考最大的问题：好莱坞是反映现实还是决定现实？