好莱坞的性别歧视

by Jessica P. Ogilvie Cass 译

好莱坞的性别歧视

How Hollywood Keeps Out Women

by Jessica P. Ogilvie Cass 译

Women are not1)tapped for power jobs in Hollywood. Their numbers trail far behind the percentage of females in executive positions in other heavily male-dominated endeavors, including the military, tech, finance, government, science and engineering. In 2013, 1.9 percent of the directors of Hollywood’s 100 top-grossing films were female. In 2011, women held 7.1 percent of U.S. military general and2)admiral posts, 20 percent of U.S. Senate seats and more than 20 percent of leadership roles at Twitter and Facebook—and both companies now face gender-discrimination lawsuits.

At top U.S. film schools, women and men are almost equally represented. Females account for 46 percent of USC’s School of Cinematic Arts graduate students. At New York University’s Tisch School of the Arts, 51 percent of graduate students are women.

Yet between the day these women graduate and the day, a few years later, that their male college peers begin showing up in flm credits, most women flmmakers vanish into3)obscurity.

在好莱坞，担当重要职位的女性并不多。好莱坞的女性高管数量远远落后于其他由男性主宰的行业，包括军队、技术、金融、政府、科学和建造工程等行业。2013年，好莱坞总票房前100名影片的导演中仅有1.9%是女性。而在2011年，女性占据了7.1%的美国军事将领和海军上将的岗位，20%的美国参议院席位以及超过20%的Twitter和Facebook领导角色——而现在这两家公司都面临着性别歧视诉讼。

在美国顶级的电影学院中，男女学生比例基本持平。南加州大学电影艺术学院毕业生中女性占了46%。在纽约大学提斯克艺术学院，51%的毕业生是女性。

然而，从这些女性毕业的那天起，到之后的几年间，她们的男性校友就已开始在电影行业中崭露头角，而大多数的女性电影制作人则逐渐销声匿迹。

好莱坞的性别歧视早已不是什么新鲜事。从索尼影业被黑客攻击后泄露出男女高管巨大薪资差距，到报告公布出女导演和女制片几十年未变的可怜比例，再到女演员们最被关心的问题永远离不开穿什么，好莱坞的性别歧视问题正因持续被曝光而逐渐受到人们的关注。当红的一线女星作为女主角的电影片酬居然敌不过同一部影片中作为男配角的二线男星的片酬，这令人大为吃惊，然而这只是好莱坞性别歧视现象的冰山一角，好莱坞台前幕后的女性会遭遇到哪些不公正的待遇，其背后的原因何在？让我们来一一探究！

1) tap [tæp] v. 任命，指定

2) admiral ['ædmərəl] n. 海军上将，舰队司令

3) obscurity [əb'skjʊərɪtɪ] n. 隐匿，无名

4) commission [kə'mɪʃən] v. 授权，委托，任命

5) snub [snʌb] v. 故意怠慢，冷漠对待

6) defect [dɪ'flekt] v.(使)偏斜，（使）偏转

A study4)commissioned by the Sundance Institute and Women in Film Los Angeles, found that women and men who graduate from Sundance’s prestigious labs in Utah fnish their flms at the same rate and get their flms accepted to the world’s top independent festivals at the same rate.

Then something unsettling happens. After competing at Sundance and other big festivals, the men who win awards are often tapped to direct for the Big Six: Disney, Universal, Warner Bros., Paramount, Sony and 20th Century Fox. But Big Six studio executives seem to ignore the award-winning female flmmakers, rarely inviting them to direct a picture.

Explanations for why studio executives and top agents tend to5)snub talented women have been playing on repeat for decades. Since at least the 1970s, studio execs have6)deflected discussion of themselves and pointed to the women. They contend that the pool of female talent is too small and that women are not interested in directing action and comic book movies—and have even suggested women can’t handle big budgets.

圣丹斯协会和洛杉矶女性电影人协会组织进行的一项研究显示，从犹他州著名的圣丹斯实验室毕业的男女比例相同，他们打入世界顶级独立电影节的影片比例也相同。

然而，一些令人不安的事情发生了。在圣丹斯和其他大型电影节中角逐后，赢得奖项的男性们经常被挖掘担任六大电影公司的导演：迪斯尼、环球、华纳兄弟、派拉蒙、索尼影业和二十世纪福克斯公司。但是六大电影公司的高级主管似乎忽略了获奖的女导演，几乎没有邀请她们导演任何影片。

几十年来，电影公司的高级主管和顶尖经纪公司对冷落有才华的女性所作出的解释一直是老调重弹。早自20世纪70年代起，高级主管们就转嫁舆论锋芒，把问题的矛头直指女性。他们声称女性才华有局限性以及女性对导演动作片和由漫画改编的电影并不感兴趣——甚至暗示女性没有能力控制高额预算。

But Barbara Schock, chair of NYU’s graduate film program, says, “We train everybody in the whole range of flmmaking. I’m seeing no difference whatsoever in their abilities,” whether male or female.

Hollywood wasn’t always like this. When the flm industry7)coalesced in Los Angeles in the early 1900s, some of its most powerful players were women.

Screenwriter Frances Marion wrote nearly 200 flms between 1915 and 1989, and often collaborated with other women. Lois Weber was one of early Hollywood’s most prolific and powerful directors, with more than 130 flms to her credit.

But two events in the 1920s brought that glimmer of equality to a halt. In 1921, Roscoe“Fatty” Arbuckle was8)implicated in the death of young actress Virginia Rappe. The Fatty Arbuckle scandal was used to create this public discussion of Hollywood encouraging young women to do things9)unchaperoned. Then, beginning in 1929, Depression and Hollywood’s transition from silent flms to talkies forced executives to deal with Wall Street for loans. Hollywood began answering to Wall Street, sidelining women because the fnanciers didn’t back them.

Between 1949 and 1979, the robust female talent behind the cameras all but disappeared. To watch films was to see a world made up of men, acting out men’s stories fnanced by men, written by men and flmed by men, with women often thrown in as sidekicks or arm candy.

In the late 1960s and 1970s, women started fighting back. The Women’s Committee of the Screen Actors Guild was formed in 1972. In 1973, activists founded the Committee of Women Writers at the Writers Guild of America.

但是纽约大学毕业生电影项目的主席芭芭拉·休克却这样说道：“我们全方位训练每一位学生的电影导演能力。从他们的能力方面来看，我看不到任何区别。”勿论男女。

好莱坞并不总是如此。20世纪初，电影产业开始在洛杉矶兴起，那时，许多具有巨大影响力的演员都是女性。

从1915年至1989年间，电影剧本作家弗兰丝斯·马丽恩创作了近200部电影剧本，也经常和其他女性合作。洛伊斯·韦伯就是好莱坞早期的一位极其多产且具有巨大影响力的电影导演，她导演了130多部令人称颂的电影。

但发生在20世纪20年代的两个事件使得这种平等的希望之光停止了闪烁。1921年，“大胖”罗斯科·阿巴克尔牵涉年轻女演员维吉尼亚·拉佩之死。大胖阿巴克尔丑闻被借以引导公众大肆讨论好莱坞鼓励年轻女性在无成人监护的情况下工作。接着，自1929年开始，经济大萧条以及好莱坞从无声电影转向有声电影使得高管们不得不向华尔街贷款。好莱坞开始为了迎合华尔街而排斥女性，因为投资者们并不支持女性。

从1949到1979年间，摄影机后那些精力充沛、才华横溢的女性几乎全部消失了。看电影就像是看一个由男人组成的世界，这些影片讲述的都是由男人投资、由男人创作、由男人拍摄的有关男人的故事，而女性则经常作为助手或者是花瓶美女出现。

20世纪60年代和70年代后期，女性开始反击。1972年，美国女性演员工会委员会成立。1973年，维权分子在美国作家协会中创设了女作家委员会。

小链接

好莱坞的杰出女导演

凯瑟琳·毕格罗（Kathryn Bigelow）

第一个获得奥斯卡最佳导演奖（第86届）的女导演

代表作品：《拆弹部队》《刺杀本拉登》

索菲亚·科波拉（Sofa Coppola）

曾获得2004年奥斯卡最佳原创剧本奖和奥斯卡最佳导演奖提名

代表作品《迷失东京》《在某处》

诺拉·依弗朗（Nora Ephron）

浪漫爱情喜剧大师

代表作品：《西雅图夜未眠》《当哈利遇上莎莉》

南希·迈耶斯（Nancy Meyers）

高票房喜剧导演

代表作品：《天生一对》《恋爱假期》

7) coalesce [,kəʊə'les] v. 接合

8) implicate ['ɪmplɪkeɪt] v. 使牵连于(罪行等)；牵涉

9) unchaperoned [ʌntʃæpə'rəʊnd] adj. （少女）无年长妇女陪同的

10) Peabody 皮博迪奖，全称乔治·福斯特皮博迪奖（George Foster Peabody Awards），美国一项以严肃著称的广播电视文化成就奖，是全球广播电视媒体界历史最悠久、最具权威的奖项

In 1979, six female directors established the Women’s Steering Committee at the Directors Guild of America. Producer-director Victoria Hochberg was one of the six. “We had all reached a certain level of success,” says Hochberg. “I had been nominated for an Emmy, one of us had won an Oscar and another had won a10)Peabody…but at a certain point, it just came out. ‘Are you working?’ ‘No.’ ‘Are you working?’ ‘No.’”

Hochberg and her group dug up the data showing that just 14 films had been directed by women in the previous 30 years. “Now that,” she says, “is a startling statistic.” They confronted studio executives but were ignored. So in the early 1980s, they sued. That got executives’ attention: Between 1985 and 1995, the number of films directed by women skyrocketed to 16 percent from nearly zero.

The Daily Beast revealed last December that Jennifer Lawrence and Amy Adams, the female stars of American Hustle, were paid far less than even a secondary male actor in the flm, Jeremy Renner.

1979年，六位女导演为美国导演协会创设了女性指导委员会。制作人兼导演维多利亚·霍赫贝格就是其中一位创设者。“我们都取得了一定的成就。”霍赫贝格说道。“我曾被提名艾美奖，我们其中一位曾获得奥斯卡奖，另一位曾获得皮博迪奖……但在某种程度上，得到的结果不过如此——‘你有在工作吗？’‘没有。’‘你有在工作吗？’‘没有。’”

霍赫贝格和她的队员们挖掘出来的数据表明，在过去的30年里，只有14部电影是由女性导演的。“这无疑，”她说道，“是个惊人的数据。”她们与电影公司的高级主管们对峙，但却受到了忽略。因此，在20世纪80年代初，她们提出了诉讼。这引起了高管们的注意：从1985至1995年间，由女性导演的电影比例从几乎为零猛然上升到了16%。

去年12月，《每日野兽》揭示了詹妮弗·劳伦斯和艾米·亚当斯——《美国骗局》中的女演员，所得的片酬远远低于影片中一个二线男演员杰瑞米·雷纳的片酬。

Another example of the double standard: Women with a box offce failure often don’t get hired again, but men who fail do. “If a movie starring or written by or directed by a man11)fops, people don’t blame the gender of the creator,” Diablo Cody says. “It’s just kind of weird how the blame is always immediately placed on female directors.”

According to Mina Cikara, an assistant professor of psychology at Harvard University, research shows that change starts at the top. “If the most powerful person at the table neglects to even look in the direction of the sole female fleet member,” she says, “then yes, other people are going to pick up on that info and12)follow suit.”

Hollywood’s top-level executives do just that. They have maintained radio silence on the industry’s gender imbalance issue for decades.

Why do executives in one of the world’s most progressive and cosmopolitan communities make decisions like these?

Susanne Quadflieg, a neuroscientist and an expert in gender bias at Bristol University in London, explained that MRI-based brain studies show stereotypes are activated in about 170 milliseconds. No matter how open-minded we fancy ourselves, these biases kick in without our realizing it.

Quadflieg says a process known as “implicit stereotyping” allows these split-second biases to kick in despite political or personal beliefs. When a woman13)defes these biased expectations, “You’re very good at coming up with reasons for why that might be: ‘Oh, her dad was a professor, too.’ But with a man, they just think, ‘OK, yeah, there’s a man who’s good in math. Big deal.’”

The research also points to an elegantly straightforward solution to this problem that has loomed over Hollywood since the 1940s: Studio executives and top agents should just hire more women.

“If you had a lot of exposure to these unexpected roles for women, you would, over time, adjust your expectation,” Quadflieg says. “The easiest way to overcome stereotypical expectations is to get them repeatedly violated.”

另一个双重标准的例子是：票房失败的女演员或导演往往不会被再次雇用，但是对于男演员或导演却并非如此。“如果一部由男性主演、创作或者导演的电影失败了，人们不会以性别为由责备他们。”迪亚布罗·科蒂说道。“通常立即受到责备的都是女导演，这有点儿奇怪。”

据哈佛大学心理学助理教授米娜·斯卡拉的研究表明，改变是自上而下的。“如果座上最有权力的那个人选择忽视唯一的女性成员，”她说道，“那么，其他人也会接收到这个信息并纷纷效仿。”

好莱坞的高层管理人员正是这样做的。几十年来，他们对电影产业中的性别失衡一直充耳不闻。

为何世界上最进步和国际化的一个团体的高管们会做出这样的决定？

苏珊娜·奎德弗利，一位伦敦布里斯托尔大学的神经系统学家兼性别歧视研究专家，是这样解释的：以核磁共振成像为基础的研究显示，刻板印象会在约170毫秒内被激活。无论我们认为自己多么开明，这些偏见会在我们意识到之前就侵入我们的思想。

奎德弗利提到一个被称为“隐式刻板印象”的过程，这个过程使得瞬间偏见能够入侵我们的思想，无论我们的政治或者是个人信仰如何。当一位女性挑战了这些偏见预期时，“你自然很擅长分析理由：‘噢，她父亲也是教授。’但是如果是个男性，他们会认为：‘是的，这个男人就是擅长数学。真了不起。’”

这项研究同时也指出了一个极其简单的解决方法，这个自从20世纪40年代起就困扰着好莱坞的难题有了答案：电影公司高管和顶尖经纪公司应该雇佣更多的女性。

“如果你接触更多意料之外的女性角色，随着时间推移，你会调整你的预期。”奎德弗利说道。“克服刻板印象预期最简单的方法就是反复地打破这种预期。”

11) fop [flɒp] v. 怦然落下，失败

12) follow suit 跟着做，效仿

13) defy [dɪ'faɪ] v. 公然反抗，藐视，挑衅