The Not So Wonderful World of Disney翻譯

1、The Not So Wonderful World of Disney1 The Wonderful World of Disney has been a part of America for as long as I can remember. With its movies, television shows, songs, theme parks, toys, and fictional characters, Disney is the epitome縮影 of childrens entertainment. Disney serves as one of the largest

2、 sources of entertainment to Americans, which is why it reigns統(tǒng)治，支配 as a commercial success and influence in our country. According to Henry Giroux, a popular critic of the Walt Disney Company, Disneys immense巨大的 success also represents “the power of the culture industries to mediate間接地 and influenc

3、e almost every aspect of our lives” .However, does Disney stand for pure and innocent entertainment, or does it carry alternative motives that seem to be well-hidden from the public eye? Many critics argue that Disney productions have the ability to affect American children and families through thei

4、r insensitive麻木不仁的 portrayal描寫 of certain aspects of society and culture.從我記事開始，迪斯尼的美好世界一直是美國(guó)文化的一部分。迪斯尼的電影,電視節(jié)目,歌曲,主題公園,玩具,和虛構(gòu)人物是兒童娛樂的縮影。迪士尼是美國(guó)人最大的娛樂來源之一,這就是為什么它作為一個(gè)商業(yè)上的成功和影響力。根據(jù)亨利·吉魯,一個(gè)受歡迎的迪士尼公司的評(píng)論家,迪斯尼的巨大成功也代表了“文化產(chǎn)業(yè)協(xié)調(diào)的力量和能影響我們生活的方方面面”。然而,迪士尼真的代表純潔和無辜的娛樂,還是攜帶著似乎從公眾視線藏匿的替代動(dòng)機(jī)? 許多評(píng)論家認(rèn)為,迪斯尼產(chǎn)品能夠通過描

5、寫社會(huì)和文化的他們麻木不仁來影響美國(guó)兒童和家庭2 Critics mark the idea of negative social influences as one of Disneys most ubiquitous普遍存在的 problems. In a study done on the role of the Walt Disney Company, Vincent Faherty explains that Disney displays certain aspects of “social vulnerability脆弱性 which needs to be raised to

6、a level of public consciousness公共意識(shí), given they do affect so many children and families”. For example, Disney emphasizes social vulnerability through the overwhelming male dominance displayed in their animated films. Faherty argues that even though there have been recent movies such as Mulan and Poc

7、ahontas, which portray描寫 strong female roles, “the quantitative 數(shù)量的disproportion不相稱 of male characters in Disney animated films needs to be addressed處理 if we expect children to be able to relate to appropriate role models”. Lack of females in Disney animated films may give children an altered view o

8、f modern society, where men serve as the most influential participants參與者. Males are usually the heroes, the villains惡人, and the parent figures in Disney movies. If men are always the heroes, then women are always the ones who have to be rescued. Females in Disney films lack the ability to save thei

9、r own lives. The negative influence comes with males who play the typical 'bad guy' roles. Faherty explains that the prevalence流行 of males in villainous邪惡的 roles should be analyzed for its potential negative impact on children and their relationships with caring male adults .Along with heroe

10、s and villains, males seem to dominate the parent figures as well. In her book Deconstructing Disney, Eleanor Byrne explains the phenomena that the female characters in most Disney movies typically exist as teenaged girls with no mother. She points out that in the instance of The Little Mermaid and

11、Beauty and the Beast, Ariels mother is never mentioned, neither is Belles; in subsequent films, Princess Jasmine is motherless in Aladdin, and Pocahontas bonds with her father by grieving over her dead mother. All of these examples illustrate闡明 the presence存在 of teenaged girls who build relationship

12、s with their fathers but are left to grow without a mother. Some critics argue that children do not learn the proper value of a mother from viewing Disney movies such as these. Collectively共同的, there is a large significance that lies in the social vulnerabilities surrounding males and females in Dis

13、ney films.評(píng)論家馬克指出迪士尼最普遍的問題之一就是消極的社會(huì)影響的那個(gè)概念。對(duì)于華特迪士尼公司的角色的研究,文森特Faherty解釋說迪斯尼確實(shí)顯示出“社會(huì)脆弱性確實(shí)影響許多孩子和家庭，它需要提高到公共意識(shí)的程度”的某些方面。例如,迪斯尼通過在他們的動(dòng)畫電影中突出男性的壓倒性的主導(dǎo)地位強(qiáng)調(diào)社會(huì)脆弱性。Faherty認(rèn)為,盡管近期已經(jīng)有一些電影,如花木蘭和風(fēng)中奇緣,塑造強(qiáng)大的女性角色,“在迪斯尼動(dòng)畫電影中的男性角色定量不相稱的現(xiàn)象需要解決，如果我們希望孩子能夠涉及適當(dāng)?shù)陌駱印?。在迪斯尼的?dòng)畫電影缺乏女性可能給孩子們對(duì)于現(xiàn)代社會(huì)的一個(gè)變異的看法，那就是男人是最具影響力的參與者。男性在迪斯

14、尼電影中通常是英雄、惡人和父母形象。如果男人總是英雄,女人總是需要拯救的人。女性在迪斯尼電影缺乏能力來拯救自己的生命。男性扮演著典型的“壞人”的角色帶來的負(fù)面影響。Faherty解釋說,應(yīng)對(duì)男性在邪惡的角色的流行對(duì)兒童和他們相關(guān)的成年男性關(guān)系帶來的潛在的負(fù)面影響進(jìn)行分析。無論是英雄還是惡棍，男性好像主導(dǎo)父母形象。在她的書中解構(gòu)迪斯尼,埃莉諾伯恩解釋了現(xiàn)象,女性角色在大多數(shù)迪斯尼電影通常存在十幾歲的女孩沒有媽媽。她指出,在小美人魚的實(shí)例和美女與野獸,愛麗兒的母親從未提及,也沒有美女的,而在隨后的電影,茉莉公主在阿拉丁失去母親,和波卡洪塔斯和她的父親一起悲傷她死去的母親嗎。所有這些例子說明的十幾歲

15、的女孩與父親建立關(guān)系,但成長(zhǎng)在沒有母親。一些批評(píng)者認(rèn)為,孩子沒有學(xué)習(xí)到母親正確的價(jià)值從觀看迪斯尼電影?？偟膩碚f，在迪斯尼電影中通過男性和女性表現(xiàn)的社會(huì)的漏洞里有一個(gè)重要意義。3 Critics condemn譴責(zé) Disney not only for the gender misrepresentations歪曲，誤傳 in Disney movies, but also for the way Disney portrays different races and ethnicities種族劃分. These criticisms hold importance when evaluati

16、ng their impact on American children and families. Vincent Faherty notes that “the virtual absence of minorities少數(shù)民族的 and color and of Hispanic ancestry血統(tǒng) in Disney films is troubling.” In the movie Dumbo, the first movie to have racially marked characters, the audience in the circus all “inhabit a

17、set of codes that are readily recognizable as performances of blackness which conform to white audience expectations”. Similarly, the study of Faherty reveals揭示 that the movies such as Tarzan and The lion King, which are both set in Africa,” do not portray any human characters of African decent” . T

18、he only African characters in the movies are slow speaking orangutans猩猩 that seemed to know less about the jungle compared to the other characters. When Disney created a Tarzan movie with no blacks, critics argued that they were promoting white supremacy白人至上 to kids. When it comes to representations

19、 of different ethnicities種族, African Americans are not the only victims. According to a study about Disneys impact by Robert Pettit, Disney faced criticism when they portrayed Asians as the “treacherous Siamese cats” in Lady and the Tramp that are “marked by the facial features, voice and accompanyi

20、ng music of the feline Siamese twins”. In Oliver and Company, the Latino characters were the “irresponsible不負(fù)責(zé)任的 Chihuahuas” who robbed the local markets for food and hijacked劫持 cars. The movie, Mulan, also portrays China as the most Sexist country in the entire world. Pettit continues his argument

21、when he states that the cultural stereotypes印象 are reinforced when Disney portrays “Arabs as barbarians野蠻人 in Aladdin, and Native Americans as savages野蠻人 in Peter Pan and Pocahontas.” Furthermore, persistent criticism of the song, Arabian Nights, which plays in the opening scene of Aladdin, led Disn

22、ey to change the words. Disney ended up only changing one line of the song which originally read “where they cut off your ear/if they dont like your face/Its barbaric, but hey, its home”. Whether or not Disney intentionally depicts racial tensions in their films, they certainly receive a large amoun

23、t of criticism for seeming culturally insensitive.批評(píng)人士譴責(zé)迪斯尼不僅為迪斯尼電影中的性別虛假陳述,也譴責(zé)迪斯尼描繪了不同的人種和種族的方式。評(píng)估他們對(duì)美國(guó)兒童和家庭的影響時(shí)，這些批評(píng)是很重要的。文森特Faherty指出,“虛擬缺乏少數(shù)民族和膚色和拉美裔血統(tǒng)的迪士尼電影是令人不安的。” 在電影小飛象,第一部有種族標(biāo)志人物的電影,觀眾在馬戲團(tuán)”居住的一組守則很容易被辨認(rèn)為黑人符合白人觀眾預(yù)期”。同樣,Faherty的研究揭示了電影泰山和獅子王等,這都是設(shè)置在非洲,“不描述任何非洲人類的正派”的特點(diǎn)。在電影中唯一的非洲的人物與其他角色相比就像是會(huì)

24、緩慢說話的知道很少有關(guān)叢林的事的猩猩。當(dāng)?shù)纤鼓釀?chuàng)造了一個(gè)沒有黑人的泰山電影時(shí),批評(píng)者認(rèn)為,他們?cè)俳o孩子們宣傳白人至上的思想。當(dāng)談到不同的種族劃分的表現(xiàn),非洲裔美國(guó)人并不是唯一的受害者。根據(jù)羅伯特·佩蒂特的一項(xiàng)關(guān)于迪士尼的影響研究,當(dāng)?shù)纤鼓岚褋喼奕嗣枥L成“危險(xiǎn)的暹羅貓”夫人和流浪漢的“面部特征明顯,聲音和伴隨音樂的貓暹羅雙胞胎”遭到批評(píng)時(shí)。在奧利弗和公司電影中，拉丁人的形象是“不負(fù)責(zé)任的吉娃娃犬”并且搶劫當(dāng)?shù)厥袌?chǎng)的食品和劫持汽車。這部電影,木蘭,也將中國(guó)描繪成整個(gè)世界性別歧視最嚴(yán)重的國(guó)家。佩蒂特繼續(xù)他的觀點(diǎn),他指出,文化定型被加強(qiáng)了,迪斯尼描繪了“阿拉伯人像野蠻人在阿拉丁中,印第安人像

25、野蠻人在彼得·潘,波卡洪塔斯。” 此外,天方夜譚的持續(xù)被批評(píng),這在阿拉丁的開場(chǎng)歌,讓迪斯尼改變的他的話。迪斯尼最終只改變了這首歌的一行，最初閱讀被讀為,他們切斷了你的耳朵/如果他們不喜歡你的臉/野蠻,但嘿,這是家”。不管迪斯尼是否在他們的電影故意描述了種族間的緊張關(guān)系,他們肯定為文化的不敏感收到了大量的批評(píng)。4 Beyond the accusations控告 of sexism and racism, Disney faces a much bigger criticism: their potential to rob children of their innocence. I

26、n an article on the “Politics of Disney” by Henry, he states that “childhood innocence is being eclipsed侵蝕 in contemporary當(dāng)代的 American society” Giroux believes that Disney has discovered a way to combine education and entertainment for children. Since Disney has become a virtual teaching machine, th

27、e people who encounter遭遇 it on a daily basis become familiar with the values, ideas, and messages that the company displays. Therefore, Giroux concludes that ”Disney wields enormous龐大的 influence on the cultural life of the nation, especially with regard to the culture of children.” Vincent Faherty c

28、omments on the idea of Disney as a cultural pedagogue教師 when he states that, “Disneys impact is worrisome令人煩惱的 in view of its role as a major purveyor承辦商 of the stories that will be used to construct childrens imaginary worlds as well as their notions of the real world.” Disney leaves no room for im

29、aginations in kids, because they load their productions with predetermined已決定的 thoughts and opinions targeted towards childrens. Giroux argues that Disney not only prevents children from exploring the real world independently, but also “works hard to transform every child into a lifetime consumer of

30、 Disney, products and ideas”. Children pressure their parents into purchasing their favorite Disney products, and Giroux believes that “As commercial culture replaces public culture.consumerism seems to be the only kind of citizenship being offered to children”. The producers of Disney use the idea

31、of innocence to downplay低估 any criticisms because ” innocence plays a complex role in the Disney Companys attempt to market its self-image to the American public”. However, “there is nothing innocent about Disney when it comes to protecting its profits and corporate image”. Still, children are easil

32、y influenced and all of the ideas portrayed in Disney movies make a huge impression on their young and innocent minds.除了性別歧視和種族歧視的指控,迪士尼面臨著更大的批評(píng):他們潛在的搶劫孩子的純真。在亨利寫的一篇“迪斯尼的政治”一文中,他指出,”在當(dāng)代美國(guó)社會(huì)童年純真是黯然失色”吉魯認(rèn)為,迪斯尼已經(jīng)發(fā)現(xiàn)結(jié)合兒童教育和娛樂的一種方式。自從迪斯尼已經(jīng)成為虛擬教學(xué)機(jī)器,每天接觸它的人變得熟悉該公司所展示的價(jià)值觀,思想,和消息。因此,吉魯?shù)慕Y(jié)論是,“迪斯尼對(duì)國(guó)家的文化生活有著巨大的影響

33、力,尤其是對(duì)兒童的文化?！?文森特在評(píng)論迪斯尼作為一個(gè)文化教育者時(shí)說道,“迪士尼作為一個(gè)重要的構(gòu)建兒童虛構(gòu)的世界的故事的影響的主要承辦商是令人擔(dān)憂的，因?yàn)檫@將用于以及他們的現(xiàn)實(shí)世界的概念?！?迪斯尼沒有空間想象力的孩子,因?yàn)樗麄円龑?dǎo)預(yù)定的產(chǎn)品與針對(duì)兒童的想法的意見。吉魯認(rèn)為迪士尼不僅防止孩子獨(dú)立探索現(xiàn)實(shí)世界,而且也“努力把每個(gè)孩子變成一個(gè)迪斯尼的產(chǎn)品和想法的一輩子的消費(fèi)者”。孩子要求父母購(gòu)買他們喜愛的迪士尼產(chǎn)品,和吉魯認(rèn)為“作為商業(yè)文化取代公共文化。消費(fèi)主義似乎變成給孩子唯一的公民身份”。迪斯尼的生產(chǎn)者用天真的想法淡化任何批評(píng),因?yàn)椤扒灏自诘纤鼓峁緡L試將對(duì)美國(guó)公眾的形象市場(chǎng)化中起著復(fù)雜的作用”。然而,“當(dāng)?shù)纤鼓岜Ｗo(hù)其利潤(rùn)和企業(yè)形象時(shí)，沒有什么無辜”。不過,孩子很容易影響和迪斯尼電影中所有的想法描述在孩子年幼無知的想法中產(chǎn)生巨大的印象。5 The Disney Company proves its existence as an overwhelming part of American life. Even though it serves as a breakthrough