配音和字幕行業

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.

劃分配音國家和配字幕國家最常見的說法是由於成本：配音是成本最高的翻譯方式，公衆以單一語言爲主且更富裕的大國會採用配音這種方式，而小國則會採用字幕這種方式。

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.

雖然這種原因確實有些道理，但成本並非決定國家選擇的唯一原因：像保加利亞、捷克共和國、匈牙利和斯洛伐克等中歐小國就比較喜歡配音，儘管它的成本很高。歷史和政治發展以及傳統是同樣重要的影響因素。

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世紀30年代早期，配音成爲法國、意大利、德國和西班牙等西歐國家（這些國家有時候也被稱爲FIGS集團）進行語言轉換的標準方式。

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.

在法國，若因維利電影公司變成了一個配音中心，配音的權威源自面對外國（特別是美國）的影響力，這個國家需要保護法語的文化使命，而法語的普及使它成爲了通用語，民衆們已經習慣於在他們自己的電影中聽到法語了。

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.

對於FIGS集團的其他國家而言，文化和政治的意識型態是決定性因素。意大利、德國和西班牙，所有的這些國家在20世紀30年代中葉都面臨着文化抵制，而且被法西斯主義政府所統治，這些國家只允許播放配音版的外國電影。

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.

特別是在意大利，多數人都講方言而不是官方的托斯卡納語，包括電影製作人自己，而配音則促成了共享國語的綜合統一。

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.

隨着配音行業在這些國家迅速得到認可並變得標準化，配音電影開始被視爲本地製作。配音行業在這些國家得到了高度發展，而且依然十分活躍，因此也就成爲這些國家20世紀30年代初政治背景的遺蹟，而就在那個時候有聲電影出現了。

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.

配音是一種勞動密集型的工作。在一個隔音室裏，配音演員重複觀看電影片段，同時根據準備好的劇本讀出他們的臺詞。爲了使翻譯的對話臺詞儘可能實現同步化，或使其他人的發音儘可能與原版影視演員的口型一致，進行幾次錄音嘗試可能是必要的。

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

電影配音質量的好壞取決於配音過程中投入的時間、精力和資源。

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世紀60年代之前，口型同步被視爲配音行業保持視覺和聽覺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，口型同步被視爲第二重要的因素，因爲研究表明，觀衆無法分辨嘴脣的微小動作和口型的細微差異，而且口型不同步並不會令那些配音國家的觀衆感到困擾。

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.

聲音同步，或者使用適合屏幕中的角色的配音，對整體效果來說是很重要的，而且電影公司往往會爲著名的外國明星選擇同一位配音演員。有時候這也使配音演員在行業內獲得一定的明星影響力，甚至憑個人實力成爲電影明星：例如，莫妮卡·維蒂就通過爲米開朗基羅·安東尼奧尼的電影配音而得到了這位導演的關注，從而在20世紀60年代成爲這位導演的幾部電影的主角。

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.

戰後的印度電影業（如今往往被稱爲“寶萊塢”），電影中無處不在的插曲並不是由演員演唱的，而是由能像電影明星一樣有名的職業歌手演唱的，而電影明星在拍攝中則是通過對口型完成錄製的。

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.

即使是在選擇配音的國家，也會有部分觀衆更喜歡觀看配字幕的電影。在法國，這種電影被宣傳爲“配字幕的原版電影”；在西班牙，越來越多的電影院既提供配字幕的外國電影，也提供配音的外國電影。源語言國家，也就是講英語的國家，特別是美國和英國，很少會進口原音不是英語的影片，所以這些國家會根據需要以一種混合的方式來使用語言轉換模式。但部分非英語國家中有許多會進口大量的電影，而且這些國家更喜歡配字幕，其中包括比利時、克羅地亞、塞浦路斯、希臘、日本、荷蘭、葡萄牙和北歐國家。

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，因爲它不需要錄音和配音演員，儘管如此，這項工作也很繁瑣。

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.

字幕行業並不像配音行業這樣國營化，因爲翻譯是字幕行業的主要工作人員，但他們並不需要定居在目標國家。字幕行業的主要問題在於翻譯，它需要對源對白進行大量的刪減，而刪減的內容可能多達一半。雖然配字幕的理想狀態是把每一句對白都翻譯出來，但屏幕空間的限制是主要的障礙。

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.

觀衆閱讀的平均速度是每分鐘150~180詞，而且配字幕還要有必要的間歇，這嚴重限制了字幕的持續時間，因此也就影響了字幕的完整性。就像給電影配音一樣，給電影配字幕也可能會很好或很差。

（翻譯：Dlacus）