配音和字幕行业

The most common explanation for the divide between dubbing and subtitling countries derives from cost: dubbing, the more expensive translation mode, is adopted by the larger, wealthier countries with significant single-language communities, subtitling by the smaller countries.

划分配音国家和配字幕国家最常见的说法是由于成本：配音是成本最高的翻译方式，公众以单一语言为主且更富裕的大国会采用配音这种方式，而小国则会采用字幕这种方式。

While there is some truth to this rationale, cost alone does not dictate national choice: small Central European countries such as Bulgaria, the Czech Republic, Hungary, and Slovakia prefer dubbing, despite its high cost. Historical and political developments, along with tradition, are equally important factors.

虽然这种原因确实有些道理，但成本并非决定国家选择的唯一原因：像保加利亚、捷克共和国、匈牙利和斯洛伐克等中欧小国就比较喜欢配音，尽管它的成本很高。历史和政治发展以及传统是同样重要的影响因素。

In Western Europe, dubbing emerged in the early 1930s as the standard method of language transfer in France, Italy, Germany, and Spain (sometimes referred to as the FIGS group).

20世纪30年代早期，配音成为法国、意大利、德国和西班牙等西欧国家（这些国家有时候也被称为FIGS集团）进行语言转换的标准方式。

In France, where the Joinville studio was converted into a dubbing center, the supremacy of dubbing derives from the nation's cultural mission to preserve and protect the French language in the face of foreign (especially American) influence, and the prevalence of French as the lingua franca for a populace accustomed to hearing it in its own films.

在法国，若因维利电影公司变成了一个配音中心，配音的权威源自面对外国（特别是美国）的影响力，这个国家需要保护法语的文化使命，而法语的普及使它成为了通用语，民众们已经习惯于在他们自己的电影中听到法语了。

For the other countries of the FIGS group, culture and political ideology were determining causes. Italy, Germany, and Spain, all of which faced cultural boycotts in the mid-1930s and were ruled by fascist governments, only allowed dubbed versions of foreign films.

对于FIGS集团的其他国家而言，文化和政治的意识型态是决定性因素。意大利、德国和西班牙，所有的这些国家在20世纪30年代中叶都面临着文化抵制，而且被法西斯主义政府所统治，这些国家只允许播放配音版的外国电影。

In Italy especially—where most people, including the filmmakers themselves, spoke dialect rather than the official Tuscan—dubbing forged the synthetic unity of a shared national language.

特别是在意大利，多数人都讲方言而不是官方的托斯卡纳语，包括电影制作人自己，而配音则促成了共享国语的综合统一。

Through the quickly established and standardized dubbing industries that were built up in these nations, dubbed movies came to be seen as local productions. The highly developed and still active dubbing industries in these countries are thus remnants of their political contexts of the early 1930s, when sound film emerged.

随着配音行业在这些国家迅速得到认可并变得标准化，配音电影开始被视为本地制作。配音行业在这些国家得到了高度发展，而且依然十分活跃，因此也就成为这些国家20世纪30年代初政治背景的遗迹，而就在那个时候有声电影出现了。

Dubbing is a labor-intensive process. In a sound booth, dubbing actors view film segments repeatedly while voicing their lines from a prepared script. Several recording attempts may be necessary to achieve, as near as possible, the synchronization of translated lines of dialogue or other vocalizations with the lip movements of the original on-screen actors.

配音是一种劳动密集型的工作。在一个隔音室里，配音演员重复观看电影片段，同时根据准备好的剧本读出他们的台词。为了使翻译的对话台词尽可能实现同步化，或使其他人的发音尽可能与原版影视演员的口型一致，进行几次录音尝试可能是必要的。

Films are dubbed well or badly depending on the time and care taken and the resources devoted to the process.

电影配音质量的好坏取决于配音过程中投入的时间、精力和资源。

Until the 1960s, lip synchrony was held by the dubbing industry as the most important factor for sustaining the illusion of watching and hearing a homogeneous whole.

在20世纪60年代之前，口型同步被视为配音行业保持视觉和听觉感受一致的最重要因素。

Now, lip synch is considered to be of secondary importance, since research has shown that the viewer cannot discern minor slips and discrepancies in lip movements, and asynchrony is not bothersome to audiences in dubbing countries.

如今，口型同步被视为第二重要的因素，因为研究表明，观众无法分辨嘴唇的微小动作和口型的细微差异，而且口型不同步并不会令那些配音国家的观众感到困扰。

Audio synchrony, or using voices that fit the characters on the screen, is important to the overall effect, and studios tend to employ the same dubbing actors for well-known foreign stars. This has led in some cases to voice actors achieving star power within the industry, or even becoming film actors in their own right: for example, Monica Vitti, the star of several Michelangelo Antonioni films in the 1960s, came to the director's notice through a dubbing assignment for his film.

声音同步，或者使用适合屏幕中的角色的配音，对整体效果来说是很重要的，而且电影公司往往会为著名的外国明星选择同一位配音演员。有时候这也使配音演员在行业内获得一定的明星影响力，甚至凭个人实力成为电影明星：例如，莫妮卡·维蒂就通过为米开朗基罗·安东尼奥尼的电影配音而得到了这位导演的关注，从而在20世纪60年代成为这位导演的几部电影的主角。

In the postwar Indian film industry (now commonly referred to as "Bollywood"), the ubiquitous song sequences are sung not by the actors but by professional singers who can become as famous as the screen stars who lip-synch their recordings during shooting.

战后的印度电影业（如今往往被称为“宝莱坞”），电影中无处不在的插曲并不是由演员演唱的，而是由能像电影明星一样有名的职业歌手演唱的，而电影明星在拍摄中则是通过对口型完成录制的。

Even in the dubbing countries there are sectors of the audience who prefer to watch subtitled films. In France these are advertised as "version originale soustitrée" ("original version with subtitles"); in Spain, cinemas increasingly offer both subtitled and dubbed versions of foreign films. Source-language countries—which means English-speaking countries, especially the United States and the United Kingdom—import few films that are not in English and so use these language transfer modes as needed and in a mixed manner. But several non-English-speaking nations, many of which import a high proportion of films, prefer subtitling, including Belgium, Croatia, Cyprus, Greece, Japan, the Netherlands, Portugal, and the Scandinavian countries.

即使是在选择配音的国家，也会有部分观众更喜欢观看配字幕的电影。在法国，这种电影被宣传为“配字幕的原版电影”；在西班牙，越来越多的电影院既提供配字幕的外国电影，也提供配音的外国电影。源语言国家，也就是讲英语的国家，特别是美国和英国，很少会进口原音不是英语的影片，所以这些国家会根据需要以一种混合的方式来使用语言转换模式。但部分非英语国家中有许多会进口大量的电影，而且这些国家更喜欢配字幕，其中包括比利时、克罗地亚、塞浦路斯、希腊、日本、荷兰、葡萄牙和北欧国家。

Subtitling, more cost-effective than dubbing because it dispenses with sound recording and voice actors, is nonetheless complex work.

配字幕比配音更划算，因为它不需要录音和配音演员，尽管如此，这项工作也很繁琐。

The subtitling industry is not nationalized to the same degree as the dubbing one, since the translators are the key personnel and need not reside in the target country. But a primary issue for subtitling lies in the translation, which entails enormous cuts to the source dialogue—as much as half. While the ideal in subtitling is to translate each utterance in full, the limitation of screen space is a major obstacle.

字幕行业并不像配音行业这样国营化，因为翻译是字幕行业的主要工作人员，但他们并不需要定居在目标国家。字幕行业的主要问题在于翻译，它需要对源对白进行大量的删减，而删减的内容可能多达一半。虽然配字幕的理想状态是把每一句对白都翻译出来，但屏幕空间的限制是主要的障碍。

The average viewer's reading speed is 150–180 words per minute, with necessary intervals, which severely limits the duration and hence completeness of the subtitles. As with dubbing, films can be subtitled well or badly.

观众阅读的平均速度是每分钟150~180词，而且配字幕还要有必要的间歇，这严重限制了字幕的持续时间，因此也就影响了字幕的完整性。就像给电影配音一样，给电影配字幕也可能会很好或很差。

（翻译：Dlacus）