The Not So Wonderful World of Disney翻译

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缩影 of childrens entertainment. Disney serves as one of the largest

2、 sources of entertainment to Americans, which is why it reigns统治，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间接地 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描写 of certain aspects of society and culture.从我记事开始，迪斯尼的美好世界一直是美国文化的一部分。迪斯尼的电影,电视节目,歌曲,主题公园,玩具,和虚构人物是儿童娱乐的缩影。迪士尼是美国人最大的娱乐来源之一,这就是为什么它作为一个商业上的成功和影响力。根据亨利·吉鲁,一个受欢迎的迪士尼公司的评论家,迪斯尼的巨大成功也代表了“文化产业协调的力量和能影响我们生活的方方面面”。然而,迪士尼真的代表纯洁和无辜的娱乐,还是携带着似乎从公众视线藏匿的替代动机? 许多评论家认为,迪斯尼产品能够通过描

5、写社会和文化的他们麻木不仁来影响美国儿童和家庭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公共意识, 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描写 strong female roles, “the quantitative 数量的disproportion不相称 of male characters in Disney animated films needs to be addressed处理 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参与者. Males are usually the heroes, the villains恶人, 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邪恶的 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阐明 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.评论家马克指出迪士尼最普遍的问题之一就是消极的社会影响的那个概念。对于华特迪士尼公司的角色的研究,文森特Faherty解释说迪斯尼确实显示出“社会脆弱性确实影响许多孩子和家庭，它需要提高到公共意识的程度”的某些方面。例如,迪斯尼通过在他们的动画电影中突出男性的压倒性的主导地位强调社会脆弱性。Faherty认为,尽管近期已经有一些电影,如花木兰和风中奇缘,塑造强大的女性角色,“在迪斯尼动画电影中的男性角色定量不相称的现象需要解决，如果我们希望孩子能够涉及适当的榜样”。在迪斯尼的动画电影缺乏女性可能给孩子们对于现代社会的一个变异的看法，那就是男人是最具影响力的参与者。男性在迪斯

14、尼电影中通常是英雄、恶人和父母形象。如果男人总是英雄,女人总是需要拯救的人。女性在迪斯尼电影缺乏能力来拯救自己的生命。男性扮演着典型的“坏人”的角色带来的负面影响。Faherty解释说,应对男性在邪恶的角色的流行对儿童和他们相关的成年男性关系带来的潜在的负面影响进行分析。无论是英雄还是恶棍，男性好像主导父母形象。在她的书中解构迪斯尼,埃莉诺伯恩解释了现象,女性角色在大多数迪斯尼电影通常存在十几岁的女孩没有妈妈。她指出,在小美人鱼的实例和美女与野兽,爱丽儿的母亲从未提及,也没有美女的,而在随后的电影,茉莉公主在阿拉丁失去母亲,和波卡洪塔斯和她的父亲一起悲伤她死去的母亲吗。所有这些例子说明的十几岁

15、的女孩与父亲建立关系,但成长在没有母亲。一些批评者认为,孩子没有学习到母亲正确的价值从观看迪斯尼电影。总的来说，在迪斯尼电影中通过男性和女性表现的社会的漏洞里有一个重要意义。3 Critics condemn谴责 Disney not only for the gender misrepresentations歪曲，误传 in Disney movies, but also for the way Disney portrays different races and ethnicities种族划分. These criticisms hold importance when evaluati

16、ng their impact on American children and families. Vincent Faherty notes that “the virtual absence of minorities少数民族的 and color and of Hispanic ancestry血统 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种族, 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不负责任的 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野蛮人 in Aladdin, and Native Americans as savages野蛮人 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.批评人士谴责迪斯尼不仅为迪斯尼电影中的性别虚假陈述,也谴责迪斯尼描绘了不同的人种和种族的方式。评估他们对美国儿童和家庭的影响时，这些批评是很重要的。文森特Faherty指出,“虚拟缺乏少数民族和肤色和拉美裔血统的迪士尼电影是令人不安的。” 在电影小飞象,第一部有种族标志人物的电影,观众在马戏团”居住的一组守则很容易被辨认为黑人符合白人观众预期”。同样,Faherty的研究揭示了电影泰山和狮子王等,这都是设置在非洲,“不描述任何非洲人类的正派”的特点。在电影中唯一的非洲的人物与其他角色相比就像是会

24、缓慢说话的知道很少有关丛林的事的猩猩。当迪斯尼创造了一个没有黑人的泰山电影时,批评者认为,他们再给孩子们宣传白人至上的思想。当谈到不同的种族划分的表现,非洲裔美国人并不是唯一的受害者。根据罗伯特·佩蒂特的一项关于迪士尼的影响研究,当迪斯尼把亚洲人描绘成“危险的暹罗猫”夫人和流浪汉的“面部特征明显,声音和伴随音乐的猫暹罗双胞胎”遭到批评时。在奥利弗和公司电影中，拉丁人的形象是“不负责任的吉娃娃犬”并且抢劫当地市场的食品和劫持汽车。这部电影,木兰,也将中国描绘成整个世界性别歧视最严重的国家。佩蒂特继续他的观点,他指出,文化定型被加强了,迪斯尼描绘了“阿拉伯人像野蛮人在阿拉丁中,印第安人像

25、野蛮人在彼得·潘,波卡洪塔斯。” 此外,天方夜谭的持续被批评,这在阿拉丁的开场歌,让迪斯尼改变的他的话。迪斯尼最终只改变了这首歌的一行，最初阅读被读为,他们切断了你的耳朵/如果他们不喜欢你的脸/野蛮,但嘿,这是家”。不管迪斯尼是否在他们的电影故意描述了种族间的紧张关系,他们肯定为文化的不敏感收到了大量的批评。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侵蚀 in contemporary当代的 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庞大的 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教师 when he states that, “Disneys impact is worrisome令人烦恼的 in view of its role as a major purveyor承办商 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已决定的 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.除了性别歧视和种族歧视的指控,迪士尼面临着更大的批评:他们潜在的抢劫孩子的纯真。在亨利写的一篇“迪斯尼的政治”一文中,他指出,”在当代美国社会童年纯真是黯然失色”吉鲁认为,迪斯尼已经发现结合儿童教育和娱乐的一种方式。自从迪斯尼已经成为虚拟教学机器,每天接触它的人变得熟悉该公司所展示的价值观,思想,和消息。因此,吉鲁的结论是,“迪斯尼对国家的文化生活有着巨大的影响

33、力,尤其是对儿童的文化。” 文森特在评论迪斯尼作为一个文化教育者时说道,“迪士尼作为一个重要的构建儿童虚构的世界的故事的影响的主要承办商是令人担忧的，因为这将用于以及他们的现实世界的概念。” 迪斯尼没有空间想象力的孩子,因为他们引导预定的产品与针对儿童的想法的意见。吉鲁认为迪士尼不仅防止孩子独立探索现实世界,而且也“努力把每个孩子变成一个迪斯尼的产品和想法的一辈子的消费者”。孩子要求父母购买他们喜爱的迪士尼产品,和吉鲁认为“作为商业文化取代公共文化。消费主义似乎变成给孩子唯一的公民身份”。迪斯尼的生产者用天真的想法淡化任何批评,因为“清白在迪斯尼公司尝试将对美国公众的形象市场化中起着复杂的作用”。然而,“当迪斯尼保护其利润和企业形象时，没有什么无辜”。不过,孩子很容易影响和迪斯尼电影中所有的想法描述在孩子年幼无知的想法中产生巨大的印象。5 The Disney Company proves its existence as an overwhelming part of American life. Even though it serves as a breakthrough