外文翻譯---馬來西亞的動畫產(chǎn)業(yè)處于十字路口

1、<p>　　本科畢業(yè)論文（設(shè)計(jì)）</p><p>　　外 文 翻 譯</p><p><b>　　原文：</b></p><p>　　Malaysian animation at the crossroads</p><p>　　Taylor and</p><p>　　Malay

2、sia’s first animation television series was screened in 1995. In less than ten years, the industry has produced numerous ongoing animation TV series, feature films and telemovies. This is an unprecedented feat among the

3、ASEAN countries, considering that Malaysia does not have established studios, as in the Philippines, Thailand, Vietnam and Indonesia. Although these countries offer animation services to foreign studios, none of them has

4、 its own ongoing feature films or TV series.</p><p>　　It would seem, then, that the Malaysian long-form animation industry is on the threshold of greater things to come. However, the general consensus among

5、producers and practitioners is that the industry is not headed anywhere. Breaking into the global market is the possible answer, but this is easier said than done. Except for the output of a few studios, quality is subst

6、andard or just average. The majority of the producers are satisfied with supplying animation series only to Radio-Televisyen Ma</p><p>　　This paper will, firstly, look at the state of the long-form animation

7、 industry and its development. Secondly, it will look at animation training, and whether students are being properly prepared for the real world. Lastly, this paper will look at the foreign influences on narrative, desig

8、n and techniques of Malaysian animators, and whether a</p><p>　　uniquely Malaysian identity is being forged.</p><p>　　The state of the industry</p><p>　　The average price offered by

9、 TV stations for a half-hour episode is only about US$500. Therefore, the only avenue open to producers is RTM, which in 1995, offered about US$12,000. This drew producers into the industry, who thought that by finishing

10、 three or four episodes a month, they could recoup their investments and make a profit at the same time. Without the necessary experience and knowledge, some of them soon ended up in the red, including missing the deadli

11、nes for delivery. So as to deliv</p><p>　　The economic downturn of the late 1990s caused RTM to cut its budget per episode by 15 percent. Whereas previously RTM commissioned producers, it now decided to have

12、 an open tender system. This created havoc in the industry, resulting in some animation studios not getting any contracts, while studios that had been just set up and without animation production experience, received mor

13、e than one tender. Some of these studios farmed out the animation to smaller companies instead of handling it with </p><p>　　The unsuccessful studios had to retrench their staff as they could not afford the

14、high overheads. And as if that was not enough, the delay in getting the approved tenders resulted in the selected studios temporarily laying off their staff. Many animators and other creative staff were disillusioned by

15、the situation and never came back to the animation industry, moving on to unrelated, but more stable jobs. This was a big loss to the industry as all of them had been trained by these studios, and h</p><p>　

16、　Marketing woes</p><p>　　The Government was aware that exporting local animation would help to galvanize the industry and make it less dependent on RTM. Many efforts have been made to promote animation globa

17、lly by the Government through various agencies such as the National Film Development Corporation (FINAS), and the Multimedia Development Corporation (MDC). But with the tight deadline and low returns locally (now at US$1

18、0,000 per episode), producers were not able to reach an optimum level of quality that would enable</p><p>　　Participation at film markets was also an added financial burden for animation producers, as most a

19、re only set up to do animation (except for those who had other television programmes節(jié)目 to sell). Without an overseas market, producers cannot spend more money to employ skilled personnel who can enhance production values

20、 acceptable to an international audience. And quality productions could only be realized with the involvement of qualified animators.</p><p>　　Animation graduates’ woes</p><p>　　This has put ani

21、mation graduates in a quandary. Even when employed by these studios,they are not really able to put their knowledge and training to proper use as all the TV series use the ‘cel’ animation technique, whereas the majority

22、of graduates are trained in 3D animation. Only three institutions of higher learning have formal training courses in ‘cel’ animation techniques, the rest specialize in teaching 3D animation techniques. Cel animators nee

23、d a high skill level for figure drawing and </p><p>　　Forging a national identity</p><p>　　Forging a national identity that reflects the art, culture and traditions of the peoples of Malaysia ha

24、s been problematic, given the many races in the country, but it is something that the Government has been addressing. However, how far this can be achieved is not easy to determine. Students and practitioners (and the ge

25、neral public), are bombarded with foreign films, TV series, books, magazines and merchandising</p><p>　　that are being aggressively marketed This influences their lifestyle, including the work they do. And

26、it shows. Keluang Man (UAS Animation 1997) is a prime example. The main characters are based on the comic book creations of Batman and Robin , and do not represent anything common to Malaysia.Only the dialogue gives any

27、indication of its local origin. All the series are in Bahasa Malaysia, the national language, but some of them use a Malay dialect common to some of the states in Malaysia. This</p><p>　　Malaysia’s folktales

28、 and legends abound with superheroes and most are well known among locals. Perhaps for thisreason, all three animation feature films The Malaysian mousedeer (Sang Kancil) had every potential to become as popular as Micke

29、y Mouse or Pluto. Because of its small size and agility, the mousedeer has acquired a certain mystique, and at the same time, became a metaphor for the little guy who has to survive in the cruel world. If the character h

30、ad been taken up by the private sector, </p><p>　　Foreign influences on Malaysian animation</p><p>　　A tendency to copy foreign animation, especially Japanese animation (anime), can be seen in t

31、he design and animation of TV series such as Anak-anak Sidek (1999), Yokies (Filem Negara Malaysia 1997) and Sang Wira (Jutakira 1996). One of the reasons is that most of the animators who were involved were once trained

32、 by Japanese animators.Anime has its own unique characteristics, and is very different from Western animation and design. The character of Sang Wira was a modified copy of Doraemon while </p><p>　　The new wa

33、ve of animators</p><p>　　Local training institutions do emphasize study and research for final-year students’ animation projects. A number of these works reflect the various races’ and nation’s heritage and

34、identity. Works that stand out are Zhang Kong Wah’s student project, Coral Reefs (Bunga Karang) (1993), the earliest fulllength student project, about the tragic death of a Malay fisherman who becomes obsessed with sunke

35、n treasure. This film was manually-animated and painted. Another student, Alan Aziz, studied anima</p><p>　　All these films are Asian in character and make use of Malaysian stories and characters, with some

36、of them reflecting the racial, social and religious backgrounds of the filmmakers. Some of the recurring motifs used are batik and wayang kulit, the Malay shadow play.35 Diffan Sina’s Woman of the Cosmos (Wanita Kosmos)

37、(2004), is a sly dig at Malaysian life (specifically, Muslim and Malay). A woman with a head covering (tudung), is selected to go into outer space with some Russians astronauts. She</p><p>　　Conclusion</p

38、><p>　　The addition of Heritage (Warisan), to the functions of the Arts and Culture Ministry recently,39 actually augurs well for the local entertainment industry. The entertainment industry in South Korea has

39、for a long time now been rightly designated a culture industry. Malaysian works, be they film, video or digitally-created, will one day be the nation’s heritage. And it is all the more urgent now to create local content,

40、 as more extremely well-made foreign productions are swamping TV stations, an</p><p>　　Source: Hassan Abdul MUTHALIB ,2007“From mousedeer to mouse: Malaysian animation at the crossroads”, Inter-Asia Cultural

41、 Studies, Vol 8, No.2, pp.289-297.</p><p><b>　　譯文：</b></p><p>　　馬來西亞的動畫產(chǎn)業(yè)處于十字路口</p><p>　　從鼷鹿到老鼠：馬來西亞的動畫產(chǎn)業(yè)處于十字路口</p><p>　　馬來西亞的第一部動畫連續(xù)劇于1995年出現(xiàn)在銀幕上。在不到十年的時間里

42、，該產(chǎn)業(yè)已經(jīng)生產(chǎn)了多部動畫片、故事片、電視電影。鑒于馬來西亞和其他國家如菲律賓、泰國、越南和印度尼西亞等都還沒有成立電影制片廠，這已經(jīng)是東盟國家中獲得的空前的業(yè)績了。雖然其他的東盟國家為外國的電影制片廠提供服務(wù)，但是沒有一個像馬來西亞一樣有自己正在制作的故事片或動畫連續(xù)劇。</p><p>　　我們可以看到，經(jīng)過長時間形成的馬來西亞動畫產(chǎn)業(yè)處于即將迎來更大的成就的起點(diǎn)上。但是，生產(chǎn)商和開業(yè)者之間的共識卻是動畫產(chǎn)業(yè)

43、不會發(fā)展得多好。進(jìn)入國際市場是可能的，但是說的總比做的容易。除了幾家電影制片廠的產(chǎn)品外，其他的動畫產(chǎn)品質(zhì)量都不合格或者僅處于平均水平。大部分生產(chǎn)商也僅僅滿足于為馬來西亞廣播電視臺（以下稱RTM）提供動畫片，這是唯一一家會為每集半小時的動畫支付一萬美元的電視公司。其他電視臺只愿意支付五百美元。生產(chǎn)商們都在抱怨動畫專業(yè)的畢業(yè)生只會動畫設(shè)計(jì)，而在故事設(shè)計(jì)、電影藝術(shù)、編輯、演出方面則缺乏必要的相關(guān)知識。馬來西亞的制片廠并不專業(yè)化，動畫片繪制者要

44、同時扮演作家、導(dǎo)演、設(shè)計(jì)者三重角色。在這種情況下，政府終于放棄了要創(chuàng)造更多當(dāng)?shù)匦缘膭赢媰?nèi)容——尤其是能反映國家特點(diǎn)的內(nèi)容的想法。這篇文章首先會介紹動畫產(chǎn)業(yè)的形成過程和發(fā)展。其次，介紹動畫培訓(xùn)情況，以及學(xué)生是否為應(yīng)對現(xiàn)實(shí)世界作好準(zhǔn)備。最后會介紹外國對馬來西亞動畫繪制者在敘述、設(shè)計(jì)和技術(shù)上的影響，以及馬來西亞的特點(diǎn)是否正在形成。</p><p><b>　　動畫產(chǎn)業(yè)現(xiàn)狀</b></p>

45、;<p>　　電視臺給每集半個小時的動畫片的平均價(jià)格只有500美元。因此，唯一可以給生產(chǎn)商帶來可觀收入的只有馬來西亞廣播電視臺，1995年，它曾給每集動畫片支付12000美元。這使很多生產(chǎn)商都加入到動畫產(chǎn)業(yè)的行列，他們認(rèn)為只要一個月完成三、四集動畫片就可以賺回本金并在同一時間開始獲利。由于沒有必要的經(jīng)驗(yàn)和知識，包括沒有按期生產(chǎn)出產(chǎn)品，一些生產(chǎn)商以虧本告終。所以為了及時播出和減少開支，一些生產(chǎn)商會剪切掉動畫的一部分。值得表揚(yáng)

46、的是，馬來西亞廣播電視臺認(rèn)識到生產(chǎn)動畫的困難，但是在最初的階段卻忽視了動畫產(chǎn)業(yè)發(fā)展中存在的某些缺點(diǎn)。</p><p>　　二十世紀(jì)經(jīng)濟(jì)低迷，導(dǎo)致RTM對每集動畫片減少15%的預(yù)算。和之前RTM委托生產(chǎn)商相比，現(xiàn)在它決定形成公開投標(biāo)的系統(tǒng)。動畫產(chǎn)業(yè)的這一浩劫導(dǎo)致很多動畫工作室沒有簽到一份合同，一些剛剛建立的還沒有生產(chǎn)經(jīng)驗(yàn)的工作室只接到一兩個投標(biāo)。其中一些工作室把動畫包出去，變成一個小公司，而不再由自己內(nèi)部的工作人員

47、獨(dú)立制作動畫。其他的工作室則接菲律賓或印度尼西亞的廉價(jià)工作，這完全擊潰了馬來西亞政府想利用當(dāng)?shù)厝肆Y源來發(fā)展動畫產(chǎn)業(yè)的目標(biāo)。不成功的工作室必須要裁減員工，因?yàn)樗鼈円呀?jīng)付不起高昂的經(jīng)常性支出。因?yàn)橘Y金不足，遲遲不能拿到已經(jīng)通過的投標(biāo)會使部分工作室不得不臨時解雇員工。很多動畫繪制者和有創(chuàng)造力的員工在這種情況面前醒悟了，他們于是再也不會回到動畫工作室，而是去做其他合動畫無關(guān)的，但是更穩(wěn)定的工作。對于動畫工作室來說，這無疑是巨大的損失，因?yàn)檫@些

48、人受過工作室的培訓(xùn)，也積累了多年的經(jīng)驗(yàn)。而當(dāng)RTM委托給各個工作室的生意只有每季度13集動畫時，問題就變得更嚴(yán)重了。以前只有八個工作室，它們在一年四個季度里都能順利進(jìn)行工作，而現(xiàn)在，正如詹姆士哀嘆道：“蛋糕越來越小，我們的經(jīng)常性支出卻越來越大，RTM根本就不了解我們</p><p><b>　　市場災(zāi)難</b></p><p>　　政府知道出口本國動畫可以刺激動畫產(chǎn)業(yè)

49、，并使它不那么依賴RTM。政府曾通過很多機(jī)構(gòu)（例如國家電影發(fā)展公司、多媒體發(fā)展公司）做過各種努力希望促進(jìn)動畫的全球化。但是由于嚴(yán)格的截止日期和低回報(bào)率，生產(chǎn)商所制作的動畫還沒有達(dá)到較好的質(zhì)量水平，以至于無法將這些動畫連續(xù)劇銷往國外。</p><p>　　加入電影市場使生產(chǎn)商承受更大的財(cái)政壓力，因?yàn)樗麄冎簧a(chǎn)動畫片（除了有些還有其他的電視節(jié)目可以賣）。沒有海外市場，生產(chǎn)商就無法賺到更多的錢來雇傭有技術(shù)的員工，而只有

50、這樣的員工才可以提高產(chǎn)品的質(zhì)量，才可以滿足國外觀眾的需求。</p><p>　　動畫專業(yè)畢業(yè)生的災(zāi)難</p><p>　　動畫專業(yè)的畢業(yè)生已經(jīng)陷入窘境。即使被動畫工作室雇傭，他們也不能把自己在學(xué)校里學(xué)到的知識和技能適當(dāng)?shù)貞?yīng)用到制作電視劇需要運(yùn)用的動畫“幀”技術(shù)，他們大部分人都只受過3D動畫制作的訓(xùn)練。只有三個高等教育機(jī)構(gòu)有正式的動畫“幀”技術(shù)訓(xùn)練課程，其他的機(jī)構(gòu)則教3D動畫技術(shù)。幀的動畫繪

51、制者需要高水平的手繪能力和動畫方法學(xué)。掌握這些需要很多年，所以生產(chǎn)商只好提供專門訓(xùn)練，也因此減慢了產(chǎn)品的生產(chǎn)速度。缺失專業(yè)勞動力使問題更加嚴(yán)重。一個專業(yè)的工作室需要核心員工，通常由制片執(zhí)行、導(dǎo)演、作家、動畫繪制者、藝術(shù)導(dǎo)演、人設(shè)和背景設(shè)計(jì)者組成。但是在馬來西亞的工作室里，這樣的集團(tuán)是不存在的。動畫繪制者被要求擔(dān)任上述多重角色，甚至在有的時候，他們還要給動畫配音！</p><p><b>　　形成國家特點(diǎn)

52、</b></p><p>　　形成能夠反映國家藝術(shù)、文化和馬來西亞民族傳統(tǒng)的國家特點(diǎn)是很困難的事，尤其是馬來西亞還是個多民族國家，但是政府已經(jīng)提出了這一要求。但是，多久以后才能達(dá)到這個目標(biāo)我們都不能確定。學(xué)生和工作者被國外電影、電視劇、書、雜志和那些被市場過分夸大的推銷計(jì)劃轟炸著。這些影響了他們的生活方式，包括他們所從事的工作。Keluang Man（1997美國動畫）就是個很好的例子。該動畫片的主角

53、是模仿漫畫書中的蝙蝠俠和羅賓漢的，并沒有表現(xiàn)和馬來西亞的共同點(diǎn)。只有對話帶有一點(diǎn)點(diǎn)國內(nèi)的痕跡。所有的劇集都是馬來西亞文，但有些會使用和馬來西亞文差不多的馬來語方言。這很符合馬來觀眾的口味，但是不會講馬來語的人理解起來就比較困難了，這直接導(dǎo)致動畫的發(fā)行量減少。</p><p>　　馬來西亞那些充斥著超級英雄的當(dāng)?shù)毓适潞蜕裨挾际钱?dāng)?shù)厝怂浅Ｊ熘?。可能是因?yàn)檫@個原因，三家動畫公司拍攝的馬來西亞鼷鹿有成為像米奇鼠和機(jī)器

54、人冥王一樣流行，因?yàn)樗男〕叽绾兔艚荩挂虼藥в幸稽c(diǎn)神秘氣息，也變成了孩子們生存在這個殘酷的世界上的一種隱喻。如果這一卡通形象被私人部門利用，就可以以多種形式產(chǎn)生收入，包括貿(mào)易。鑒于評價(jià)標(biāo)準(zhǔn)的上升，廣告業(yè)也會參與電視臺的競爭來贊助動畫的播出。通過不斷的播放，鼷鹿會成為國家的集體記憶，也會成為全民的偶像，就像好萊塢的卡通形象一樣。</p><p>　　外國對馬來西亞動畫的影響</p><p&g

55、t;　　馬來西亞的動畫設(shè)計(jì)和動畫連續(xù)劇很多都帶有模仿外國動畫，尤其是日本動畫的傾向，比方《西迪家的孩子們》、《約克夏》、《Sang Wira》等。之所以會這樣，其中一個原因是馬來西亞的動畫設(shè)計(jì)者大部分都曾經(jīng)接受日本動畫設(shè)計(jì)師的培訓(xùn)。《Sang Wira》的主角就是對多拉a夢的翻版，其他的配角安迪和西西則看起來像皮卡丘和達(dá)保。描述一只鹿或一只老鼠的滑稽可笑，這樣的題材在動畫連續(xù)劇中占大多數(shù)，但是這些故事情節(jié)很明顯是模仿《湯姆和杰里》的。但

56、是，《鄉(xiāng)下男孩》，這部由國際知名漫畫家萊特設(shè)計(jì)的動畫，被視為是最能體現(xiàn)馬來西亞文化和傳統(tǒng)的一部成功之作。這主要是因?yàn)槿R特參與了一個在美國發(fā)展起來，并在菲律賓進(jìn)行動畫設(shè)計(jì)的一個計(jì)劃。《Silat傳奇》和《曼蜘蛛》，對他們的動畫形象設(shè)計(jì)和背景繪制有很大影響。</p><p><b>　　新一代的動畫設(shè)計(jì)者</b></p><p>　　馬來西亞當(dāng)?shù)氐呐嘤?xùn)機(jī)構(gòu)在學(xué)生動畫培訓(xùn)的

57、最后一年強(qiáng)調(diào)學(xué)習(xí)和研究。很多這類作品都反應(yīng)了多元種族性和國家的文化遺產(chǎn)、特點(diǎn)。比較有名的作品是張空華的學(xué)生作業(yè)——“卡羅里夫”——最早的大型學(xué)生作業(yè)，是關(guān)于一個漁人沉溺于水底的寶藏，最終悲劇性的死亡的故事。這個電影是人工設(shè)計(jì)和繪制的。另一個學(xué)生阿蘭，曾經(jīng)在波蘭學(xué)習(xí)，后來回到馬來西亞根據(jù)當(dāng)?shù)毓适聞?chuàng)作了電影《劍魚》，該片使他在新加坡很受追捧。這部電影根據(jù)一個眾人熟知的神話改編的，講述了一個漁村，一個小男孩和劍魚搏斗，最終拯救了全村的人。這是

58、人工設(shè)計(jì)，最終通過數(shù)字化完成的。覃金宏的3D電影《馬來西亞的一個星期五》，很受動畫產(chǎn)業(yè)界的稱贊，并摘得多個獎項(xiàng)，包括總理的功勞獎。處于同一個層次的還有其他多部電影。</p><p>　　所以這些電影的角色都帶有亞洲特色，并利用馬來西亞的當(dāng)?shù)亟巧凸适?，反?yīng)了電影制作者的種族、社會和宗教背景。很多被循環(huán)的主題都是蠟染色法和瓦揚(yáng)庫立，馬來的非正式的劇目?！秮碜杂钪娴牡俜蛭骷{的女人》，是對馬來西亞生活的挖掘，一個包著頭

59、的女人，被選上和一些俄羅斯的宇航員去外太空。她回來后，被譽(yù)為偉大的英雄，然后結(jié)婚了，過了不久就生了一個藍(lán)眼睛的嬰兒。</p><p><b>　　總結(jié)</b></p><p>　　由于藝術(shù)和文化部門的有效運(yùn)作，增加的資產(chǎn)預(yù)示著當(dāng)?shù)貖蕵樊a(chǎn)業(yè)的良好發(fā)展。韓國的娛樂業(yè)，經(jīng)過很長一段時間，已經(jīng)形成了自己的文化特色。馬來西亞的作品，包括電影、錄像和數(shù)字產(chǎn)品，終有一天會成為這個國

60、家的財(cái)富源泉。然而，隨著越來越多的制作精良的外國產(chǎn)品正以兒童為目標(biāo)傾入電視臺，馬來西亞當(dāng)務(wù)之急是創(chuàng)造出更多當(dāng)?shù)貎?nèi)容。據(jù)報(bào)道，2004年，“太空”衛(wèi)星站在它的亞洲迪斯尼頻道又添加了600部新的電視連續(xù)劇。很重要的一點(diǎn)是，我們需要明白“文化產(chǎn)品、商業(yè)和政府是不可分割的聯(lián)系在一起的，并且，實(shí)際上，通常是商業(yè)和政府的利益產(chǎn)生某種文化”</p><p>　　出處：[馬]阿布杜，《從鼷鹿到老鼠：馬來西亞的動畫產(chǎn)業(yè)處于十字路口