TPO-12 Reading 2 阅读译文

Transition toSound inFilm电影声音的演变The shiftfrom silentto soundfilm atthe endof the1920s marks,so far,the mostimportanttransformation inmotion picturehistory.Despite allthe highlyvisible technologicaldevelopmentsin theatricaland homedelivery of the movingimage thathave occurredoverthe decadessince then,no singleinnovation hascome closeto beingregarded asa similarkindof watershed.In nearlyevery language,however thewords arephrased,the mostbasicdivision incinema historylies betweenfilms thatare muteand filmsthat speak.电影史上最为重大的一次过渡一一电影从无声到有声的跨越发生在1920年的年底尽管在戏剧和家庭成像的多元化方面更高级的视觉技术在之前已经发展了十年，依然没有一项类似的发明出现可以被归入这次转折但是在所有语言中几乎都是这样描述的电影史上最基本的分水岭就是从默片到电影中语音的加入Yet thismost fundamentalstandard ofhistorical periodizationconceals ahost ofparadox*.Nearly everymovie theater,however modest,had apiano ororgan toprovide musicalaccompanimentto silentpictures.In manyinstances,spectators in the erabefore recordedsoundexperienced elaborateaural presentationsalongside movies1visual images,from theJapanesebenshi narratorscrafting multivoiceddialogue narrativesto originalmusicalcompositions performedby symphony-size orchestrasin Europeand theUnited States.InBerlin,for thepremiere performanceoutside theSoviet Unionof TheBattleship Potemkin,film directorSergei Eisensteinworked withAustrian composerEdmund Meisel1874-1930on amusical scorematching soundto image;the Berlinscreenings withlive musichelped tobringthe filmits wideinternational fame.这项历史周期中最基础的的标志性事件却隐藏在一系列的矛盾中尽管在几乎每家庄重的剧院中，都有一架钢琴或是其他乐器来给无声的画面提供配乐在一些实例中，录音时代之前的观众都亲历过那种在电影放映画面的同时旁边是复杂的音效呈现，从日本的benshi口技的多点音效的对话演绎到欧洲和美国由管弦交响乐乐队演奏的专门为电影谱写的曲谱在柏林，为了能在露天公演的关于苏联的波利金战役，该片导演SergeiEisenstein与奥地利的作曲家Edmund Meisel合作创作与电影相匹配的音效；柏林的放映电影的同时现场演奏音乐让这种电影形式有了国际影响力Beyond that,the triumphof recordedsound hasovershadowed therich diversityoftechnological andaesthetic experimentswith thevisual imagethat weregoing forwardsimultaneouslyin the1920s.New colorprocesses,larger ordifferently shapedscreen sizes,multiple-screen projections,even television,were among the developmentsinvented ortriedout duringthe period,sometimes withstartling success.The highcosts ofconverting tosoundand theearly limitationsof soundtechnology wereamongthefactors thatsuppressedinnovations orretarded advancementin theseother areas.The introductionof newscreenformats wasput offfor aquarter century,and color,though utilizedover thenext twodecadesfor specialproductions,also didnot becomea normuntil the1950s.除此之外，录音的辉煌还是使20世纪20年代同时百家争鸣的视觉影像方面的技术和审美实验的进步相形见细在这期间充斥着新技术的发明或者提出，有一些甚至取得了成功，新的色彩处理，更大的和不同尺寸的屏幕，多屏放映的设计，甚至是电视声音转化的高成本和早期声音技术的局限成为了抑制或妨碍了这些发明的在其所在领域的优势新型屏幕设计的引进被推迟了25年，彩色，在接下来的20年除了用于特殊生产外，一直到1950年都还不是标准Though itmay bedifficult toimagine alater perspective,a strainof criticalopinion in the1920s predictedthat sound61m wouldbe atechnical noveltythat wouldsoon fadefromsight,just ashad manyprevious attempts,dating wellback beforethe FirstWorld War,tolink imageswith lecoidedsound.These criticswere makinga commonassumption-that thetechnologicalinadequacies ofearlier effortspoor synchronization,weak soundamplification,fragile soundrecordings wouldinvariably occuragain.To besure,theirevaluation of the technicalflaws in1920s soundexperiments wasnot sofar offthe mark,yet theyexglectnd totake intoaccount importantnew forcesin the motion picturefield that,in asense,would nottake nofor ananswer.虽然这件在事后很难想象，但是在1920年一个倾向性的批判性观点预测有声电影仅仅作为一项新奇的技术将会迅速从视线中退去，就像之前的许多试图将图像与录音连接在一起的尝试一样，而这可以追溯到一战之前这些批评家都持有一个共同的假设，那就是早期成果的技术缺陷仍将不可避免的发声较差的同步性，微小的音量和断断续续的录音为了证实这个观点，他们在1920年的声音试验中所估测的技术缺陷仍然很大，之后他们就不再对这一电影范畴内的重要力量进行考虑了，从某种意义上说，是不再特意的关注结果These forceswere therapidly expandingelectronics andtelecommunications companiesthatwere developingand linkingtelephone andwireless technologiesin the1920s.In theUnitedStates,they includedsuch firmsas AmericanTelephone andTelegraph.GeneralElectric,and WestinghouseThey wereinterested inall formsof soundtechnology andallpotential avenuesfor commercialexploitation.而在1920年，这个了力量急速的扩张发展出了连接电话与无线电工艺的电子公司和电子通讯公司在美国，他们包括了像美国电话与电报这样的公司通用电器公司，威斯汀豪斯都对声音技术的各种形式和一切商业开发潜力表示感兴趣Their competitionand collaborationwere creatingthe broadcastingindustry inthe UnitedStates,beginning withthe introductionof commercialradio programmingintheearly1920s.aWith financialassets considerablygreater thanthose inthemotion picture industry,andperhaps awider visionof therelationshamong entertainmentand communicationsmedia,they revitalizedresearch intorecording soundfor motionpictures.Hln1929the UnitedStatesmotionpictureindustry releasedmore than300sound films—a roughfigure,since anumberwere silentfilms withmusic tracks,or filmsprepared indual versions,to takeaccountofthemany cinemasnot yetwired forsound.・At theproduction level,intheUnitedStates theconversion wasvirtually completeby

1930.aln Europeit tooka littlelonger,mainly becausethere weremore smallproducers forwhom thecosts of sound wereprohibitive,and inother partsoftheworld problemswith rightsor accessto equipmentdelayedthe shiftto soundproduction fora fewmore yearsthough cinemasin majorcitiesmay havebeen wiredin orderto playforeign soundfilms.The triumphofsoundcinemawas swift,complete,and enormouslypopular.在1920年的早期，这些竞争与合作开创了美国的广播产业，开始引入了商业广播节目由于财富贡献明显的比那些电影工业的多，而且他们在娱乐与交互媒体之间的关系上有一个更广的看法，他们重启了电影配音的研究一个粗略的统计表明，1929年美国的电影产业放出了超过300部有声电影，同时还有一定数量的默片音轨，或者为电影准备两个版本以照顾一些还没有声音部件的电影院美国在生产环节的转换最终完成与1930年欧洲要稍微晚一点更多是因为他们有很多小型的无法负担音效成本的生产商，另一部分原因是对于专利权和许可领域问题而使设备的配备拖延了声音产业的转变很多年尽管很多大城市的电影院为了播放外国电影可能已经添加了设备）有声电影取得了胜利,并迅速，完全，广泛的流行起来。