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本帖最后由 STRIKER999 于 2018-3-1 12:14 编辑
日本动漫在欧洲
当我回顾日本动画在欧洲的传播历程时,审查部门将日本动画斥为丑恶之物的频繁令我震惊,具体举例,英国电影审查局(BBFC)对录像横加删减就令不少爱好者深恶痛绝。简单来说,BBFC对一切在英国播放的影像进行审核和分级。分级制度基于观影年龄而设,从U(universal,全年龄)到18(成年向,但区别于R18,要求处理得当,没有禁止的主题)。我必须指出,这里的“18”有别于美国电影评级中的直接与色情挂钩的X级。BBFC也可以删减修改影像使其能被公众接受以及在必要时完全拒绝认证影像。
此部门也因此自然而然地站到了个人自由问题论战的风口浪尖,而且近几年,日本动画在此讨论中所占地位也愈发显要,但在我们深究这个问题之前,让我们简单看看日本动漫在欧洲大陆的发展史,看其如何兴起,看其现状如何。
西班牙与法国
日本动画在好几个欧洲国家受到的限制比在英国受到的要少得多;然而在一开始,这些舶来的电视节目也因其内容而遭到当体人反对,即使是儿童向节目,因其(指日本动画)对节目内的成人元素的态度比当地电视台与家长要宽松很多。比如1980年在西班牙电视台(elevision Española ,西班牙的一家国有电视台)播放的巨型机器人动画《魔神Z》(Mazinger Z,美国称TranZor Z)就因被电视台认为过于暴力而在仅仅播放26集后就将其停播。相似的问题又出现了,电视台觉得日本动画太过暴力,但爱好者们想看到这种动画流派应有的风格。电视台持有一种混乱的观点——卡通片(以及类似的艺术形式)就是给小孩子看的,然而日本动漫是不能被归入给小孩子看的范围之内。相同的命运也降临在动画《圣斗士星矢》(Saint Seiya)身上,这部动画改编自车田正美( Masami Kurumada)以希腊神话与北欧神话为基础创作的长篇漫画。然而,《圣斗士星矢》却因被另一家西班牙电视台Tele-S放映而绝处逢生,就此,日本动画在西班牙的传播终由星星之火化作燎原之势。现在,西班牙电视台已经能够播放大量日本动画了,包括一些被西方爱好者视作传奇的作品,如鲁邦三世(Lupin III)、橙路(Kimagure Orange Road)、棒球英豪(Touch)、城市猎人(City Hunter)、乱马1/2 (Ranma 1/2)和相聚一刻(Maison Ikkoku)。有趣的是,西班牙各地对播出动画的修改成度都不同,因此,你可以在加泰罗尼亚看到使用原版字幕播出的《龙珠》(Dragonball),然而在其他地区播放的则是经过修改的版本。
在法国,日本动漫的遭遇尤其艰辛。第一批引入法国的日本动画是被译作Le Prince Saphir 的《缎带骑士》(Ribbon No Kishi)和被译作Le Roi Leo 的《森林大帝》(Jungle Taitei),他们都是出自手冢治虫这位拥有丰沛想象力的漫画动画天才之手。此事发生于1974年,我认为这并未造成轰动,但在70年代后期,日本动漫在法国逐渐成为热点话题。被译作Goldorak的《UFO机器人 古连泰沙》在1978年开始放映,正如《圣斗士星矢》在西班牙造成的影响一样,这部在当时最受欢迎的电视节目成为了引进日本动画的热潮的催化剂。好景不长,在那股热潮下,有一位法国心理学家撰文警告让小孩观看这种“暴力的”日本卡通是危险的。这种做法和另一位心理学家弗雷德里克·沃森博士的作为很相似,沃森博士曾将不良行为与E.C公司出版的恐怖漫画联系起来,这在五十年代的美国家长群体中引发了恐慌。法国立刻掀起与美国相似的对动画的癔症,并模仿美国建立CCA( Comics Code Authority 漫画法典管理局)以规范漫画出版的行为,创建了CSA( 视听监督委员会,维基百科未给出中文翻译,故采取有道翻译结果),或称 Comité de Surveillance Audiovisuel。 CSA开始删减像北斗神拳(Hokuto No Ken ,Fist Of The Northstar)之类作品中的暴力片段。尽管你们有理由争论这种行为的功过,但更糟的事则在政府颁布在动画放映时间禁播广告的法令之后发生。日本动画的法国发展之路继续受阻(个人猜测Again所要表达之意),这个法令的出发点是好的,但来自广播公司对此政策的回应则是野蛮地删减动画(不止暴力和裸露镜头)以腾出更多时间在动画放映之前或之后播广告;广播公司明目张胆地绕过法令要求,但他们显然不需要担心。另一个令日本动漫在法国被大量删减的原因则来自一项长期法令——法国本土电视节目播出时长必须大于引进的电视节目。这就导致很多动画被蛮横地剪辑,播出时长仅有原片的一半,而广播公司则制作了全新但粗制滥造的动画剧集——他们自制了新的主题曲,这样就能将其定义为本土作品。(法国佬太机智)
德国与意大利
虽然德国影迷越来越多,但日本动画依旧被家长的担心所挟制,到现在《圣斗士星矢》或《UFO机器人 古连泰沙》都没能大规模放映。70年代前期,西德播放了第一步日本动画——《飞车小英雄》(Mach Go Go Go,speed racer),却被家长冠以“野蛮”之名而在播出短短几集后就退出市场。另一部更加有趣的动画在1980年被引进德国电视台,它名叫《太空突击队》(Captain Future),由一位美国科幻作家埃德蒙德·汉密尔顿(Edmond Hamilton)的作品改编而来,但也因犯罪元素过多而被砍掉。然而,不少后继的引进动画显得温和许多,比如少女向作品《阿尔卑斯山的少女》(Heidi,由瑞典作家约翰娜·施皮里于1880~1881年所发表的德文小说《海蒂》系列改编),可仍然遭受抨击,与其他日本动漫比较时,它被德国人贴上了“廉价远东卡通片的标签”。情况总算慢慢有所好转,随着著名少女向作品《凡尔赛玫瑰》(Rose Of Versailles)在去年全年的播出,一水儿的体育动画也开始放映,包括《加油吉塔斯》(Ganbare! Kickers)和《排球甜心/女排NO.1》(Attack No. 1)
意大利大概是全欧对日本动画最宽松的国家,而且他们的配音工作在欧洲也是最好的。从1973年起,意大利电视台就开始播出大量动画剧集,永井豪(Go Nagai)的《UFO机器人 古连泰沙》再次打了头阵。随之而来的则是各式各样的作品得以放映,从《机动战士高达》(the top rated giant robot saga Gundam)到松本零士(Leiji Matsumoto)的《银河铁道999》,还有一些魔法少女类作品,如《甜甜仙子》(Minky Momo)和《魔幻小公主》(Magical Emy)。
回到英国
在英国,我们压根没有能说到的日本动画电视播放史,而且英国电视对待儿童节目尤其谨慎有加。比如《忍者神龟》(Teenage Mutant Ninja Turtles)中的忍者二字就因被认为不适合儿童而被替换为《勇者神龟》(eenage Mutant Hero Turtles)。更别提我们没有西班牙那样看连环画的的文化环境,我认为那种环境会帮助日本动画进入欧洲大陆的主流文化圈。在我们这样某种意义上可以说是被压抑的氛围下,日本动画的到来绝对让BBFC惊得手足无措。
Island World公司在1991年发起了一场日本动画影像(Manga Video)入侵。他们用大友克洋(Katsuhiro Otomo)极富盛名的网络朋克动画电影《阿基拉》(Akira)试水,结果大获成功,于是他们的业务分类就多了日本动画这一项(Manga Video)。不幸的是,这家公司与日本动画粉丝的关系相当糟糕,不只因为以纯粹语言者的姿态反对使用Manga这个词来表示众所周知的日本连环画(comic)。真正的问题则是,尽管Manga Video(Island World的子公司)一开始努力发行日本动漫,却因发行的某些动画内容过于极端而引人生厌。《超神传说童子》(Urotsukidoji)就在此黑名单之列,因给可怜的试看者造成巨大恐惧而被列为成人级影像。英国出版社很快注意到了日本动画并发行了好几篇用来诽谤的文章,比较有名的有《独立》,但这并没有激起大规模的反日本动画运动,唯一令人遗憾的是那些极端题材动画使人们不能清楚地看到动画的内涵以及动画能够展现的开阔视野。
但悲剧的是,上述消极因素以及暧昧不清的配音工作(个人猜测指重配音与原著风格相异),是的日本漫画爱好者和日本动画爱好者产生了某些隔阂,夸张一点说,仅仅在动画爱好者集会上提到这家公司(Island World 或Manga Video)都会被嘲笑。这情况现在似乎得到了些许缓解,特别是在Manga Video发行了一些像《机动警察》(Patlabor)和《王立宇宙军》(Wings Of Honneamise)这样广受喜爱的经典作品之后。同时,BBFC仍走着慎之又慎的老路——刚刚拒绝了为一部成人动化《淫、、、、兽学院》( La Blue Girl)分级并授权发行。(我已经醉了,英国真的很开放啊······)
重归平衡
其他影像公司,比如Kiseki公司就尝试着通过发行一些题材温和的作品来维持市场平衡,但被Manga Video大力拓展业务的副作用所影响,到现在大多数音像店还把其他公司发行的作品都归到了Manga Video的货架下售卖(个人臆断,原文是point-of-sale)。对日本动画外行的杂志编辑们根本分不清货架上放的影像到底有什么区别,这也加强了日本动画等于性与暴力的偏见,而且在我看来,没有几个刚开始看日本动画的人是对日本人制作的影像感兴趣而看日本动画,只要日本动漫里还有太多上述的那些性与暴力的话。
当然,大多数欧洲大陆的观众期初会选择无视日本动画。但这不会管用(因为它渗透性太强)。举个例子,《搞怪拍档》(Dirty Pair )中的亚男与莉莉( Kei And Yuri)在意大利就被翻译成了凯特和莉莉(以迎合观众习惯),《相聚一刻》里的响子则在被译为茱莉亚。我衷心希望,英国也会像欧洲大陆那样出现日本漫画热潮,这样也会使更多人对日本动画感兴趣。然而,尽管有像《功夫小子》(Iron Fist Chinmi)这样的儿童向漫画大受欢迎(售出十万册),仍然没有任何迹象表明漫画浪潮即将到来。而此时的日本,从80年代起开始制作只以录像带形式发行的动画,其题材也开始涉及电视上不能播放的领域,这些动画不再倾向于扩大讲故事的范围,而是追求一些更加基本的目的——标记着“Manga Video 成...人级”标签的漫画在西班牙畅销,色.....情向动画在法国也卖得很火爆。
更加令人欣喜的消息是,日本动漫在欧洲大陆传播得愈发广泛——宫崎骏(Hayao Miyazaki)的《红猪》(Porco Rosso)和《龙猫》(My Neighbor Totoro)已在芬兰首次公映,且有至少50种影像销售。被视作大师之作的《红猪》,在重配音后亦在波兰电视台放映。
就在去年,英国电视业终于表现出了明显的对日本动画感兴趣的迹象,拥有广泛选择权的第四频道开始播放数个晚间档动画,虽然这些时段完全被Manga Video的产品所统治。令人满怀市场和题材取向能得以平衡希望的是,有消息称,BBC将购买《机动警察》和《王立宇宙军》(的在英发行权,此为个人臆断)。但是,英国仍是个游离于欧洲之外的怪人,和他做过的大多数事一样孤单怪异,所以没人期待在未来某天BBC儿童频道会播放《橙路》这样的恋爱向动画。
作者简介:约翰·戈斯林(ohn Gosling)是一位英格兰的自由撰稿人。他的主要成就是为《MangaMania》撰写了多篇日本动画评价,以及为《spacelight》(属于英国星际学会)撰写了一篇日本动画中所涉及的真实宇宙概念的文章。
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举报|2楼2014-11-27 04:53
傲者向天
自成一派
12
附上原文
Anime in Europeby John Gosling
Bounty Dog
© Manga Entertainment
When looking for a common thread to link this article, I was struck by how often anime had ran foul of censorship in Europe, a problem that is certainly something of a sore point with fans here in Britain due to the many cuts imposed on videos by the British Board Of Film Classification (BBFC). To briefly explain the role of the BBFC, its examiners view and then assign certificates to all the films and videos shown in Britain. These certificates place legal age limits on who can watch a film, and range from a "U" for Universal to an "18" for anything of a strictly adult nature. I should point out that an "18" does not equate to the American "X" rating, which is often synonymous with pornography. The BBFC is also able to demand cuts and modifications to bring a film into the realms of public decency and can refuse a certificate completely if deemed necessary.
Naturally the board has long been at the center of controversy regarding issues of personal freedom, and in recent years anime has come very much to the forefront of that debate; but before we delve deeper into the situation in Britain, let us begin with a brief overview of anime in mainland Europe, from where it began, to where it stands at present.
Spain & France
There are a number of European countries where anime enjoys a much broader exposure than in Britain; however, things got off to a difficult start when early imports of television shows came up against local opposition to their content, which, even if made for children, often took a far more relaxed attitude to mature themes than broadcasters and parents were used to. A case in point was the giant robot show Mazinger Z (TranZor Z in America), which in 1980 was picked up for broadcast in Spain by Television Española (TVE), but was discontinued after only 26 episodes because the broadcasters judged it was too violent. The problem is a familiar dichotomy to anime fans wishing to see the genre expand it's appeal. Broadcasters are thrust into a state of confusion, equating cartoons with children, but unable to place anime comfortably in this niche. A similar fate befell Saint Seiya, a series based on the manga of Masami Kurumada, and which took inspiration from both Greek and Norse mythology. However, Saint Seiya got a second chance when the entire series was broadcast by another Spanish channel, Tele-S, and this time the flame caught and started a fire. Now it is possible to see an incredibly broad range of anime on Spanish television, including shows that have almost legendary status with Western fans, such as Lupin III, Kimagure Orange Road, Touch, City Hunter, Ranma 1/2 and Maison Ikkoku. As an interesting aside, the degree of tampering appears to vary with regions in Spain, hence in the Catalan region you can see the Dragonball series with it's original titles intact, while in the rest of the country the show goes out in an edited format.
UFO Robot Grandizer
In France, anime has had a particularly rough ride. The first anime to reach the country was Ribbon No Kishi (Princess Knight), translated as Le Prince Saphir, and Jungle Taitei (Jungle Emperor) as Le Roi Leo, both from the fertile imagination of manga and anime genius Osamu Tezuka. These appeared in 1974 and I can't imagine caused any great stir; but things really heated up in more ways than one in the late 70s. First of all, the series UFO Robot Grandizer was broadcast in 1978 as Goldorak and, like Saint Seiya in Spain, was the catalyst for a boom in anime imports, as it apparently was the most watched program on television at the time. However, during this period a French psychologist also wrote an article which warned of the danger to young children of watching "violent" Japanese cartoons. This event has real parallels with the work of Dr. Frederick Wertham, the psychologist who created a considerable panic in the early 1950s amongst American parents when he proposed a link between delinquency and the horror comic books popularized by publisher EC. A similar hysteria was to be whipped up in France, and in much the same way as America came up with the Comics Code Authority (CCA) to regulate comics, so France was to have it's CSA, or Comité de Surveillance Audiovisuel. The CSA set to work cutting the violence from shows such as Hokuto No Ken (Fist Of The Northstar). Although you can reasonably argue the merits of such a move, worse was to come when the government enacted a law banning advertisements during cartoons.
Again, this had a worthy ideal, but the response of broadcasters was to use the CSA guidelines to savagely cut anime (not just violence and nudity) to make room for more adverts before and after the programs; this was a rather blatant way of getting round the new law, but one that apparently went unchallenged. Another way in which anime is tampered with in France relates to a further law which stipulates that daily indigenous programming must outnumber imported shows. As a result, many shows are crudely cut down to half their normal length, and broadcasters have commissioned new and poorly animated opening sequences, with new "theme songs," so that they can qualify as locally made.
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举报|3楼2014-11-27 04:54
傲者向天
自成一派
12
Germany & Italy
Germany has an increasingly strong base of fandom, but anime has had to struggle to overcome the concerns of parents and there has not yet been a Saint Seiya or UFO Robot Grandizer to create mass appeal. The first anime show to reach West Germany was Mach Go Go Go (Speed Racer) in the early 1970s; but this was branded "brutal" by parents and removed after only a few episodes. One of the more interesting shows to reach German TV in 1980 was Captain Future, based on the books of American science-fiction writer Edmond Hamilton, though this too came in for criticism and was cut. However, many subsequent imports tended toward safe material aimed at young girls, such as Heidi, though even this came under attack, when with others of this type, it was labeled in the German press as a "cheap Far East cartoon." However, things do seem to have improved lately, with shows such as the renowned shoji (girls) series Rose Of Versailles making an appearance in the last 12 months, alongside a flurry of sports based anime, such as Ganbare! Kickers and Attack No. 1.
Italy has perhaps the most relaxed attitude to anime and apparently the best approach in Europe to dubbing. Since 1973, Italian television has shown an astounding number of shows, with Go Nagai's UFO Robot Grandizer once again the forefront. Following on from this has come virtually every major show and format, from the top rated giant robot saga Gundam, to Leiji Matsumoto's Galaxy Express 999 and a bevy of "magical girl" shows, such as Minky Momo and Magical Emy.
Macross Plus
© Manga Entertainment
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举报|4楼2014-11-27 04:54
傲者向天
自成一派
12
Back in the UK
In the UK, we have no history of anime on television to speak of, and indeed British TV has always walked a careful line in regards to children's programming. For example, the title of Teenage Mutant Ninja Turtles was changed to Teenage Mutant Hero Turtles, because the word Ninja had connotations which were felt to be unsuitable for children. Nor does Britain have much in the way of a comic book culture such as in Spain, which I am sure has worked in parallel to help ease anime into the mainstream on the continent. In our somewhat repressed climate, the arrival of anime on video took the BBFC completely by surprise.
What has amounted to a video invasion was launched in 1991 by Manga Video, a subsidiary of Island World. They had tested the waters with Katsuhiro Otomo's sensational cyberpunk film Akira, and such was its success that they formed a new dedicated label called Manga Video. Unfortunately, the company has had a fairly acrimonious relationship with "anime fans," not least because purists objected to the use of "manga" in connection with an anime label, when everyone knows that it refers to Japanese comic books. The real problems, though, began when Manga Video started to release titles in earnest, beginning with some fairly extreme material guaranteed to kick up a stink. The horror story Urotsukidoji did just this, earning an 18 certificate and giving the poor examiner nightmares for days after.
The British press was quick to pick up on the film and several disparaging articles appeared, notably one in The Independent; but there has been no great anti-anime crusade in this country, and the only real disappointment is that the extreme films have overshadowed the true depth and vision of which anime is capable.
Patlabor
English Language version:
©1995 Tohokushinsha Corporation.
However, along with some rather dubious dubbing practices, these negative factors combined to create something of a schism between "manga" fans and "anime" fans; indeed, the mere mention of the company's name at anime conventions tends to evoke calls of derision. This seems to be healing a little now, especially as Manga has since released some classics with wide appeal like Patlabor and Wings Of Honneamise. Meanwhile, the BBFC continue to tread a careful path, having recently refused for the first time to issue a certificate to a video, in this case Manga's La Blue Girl.
Redressing the Balance
Other companies, such as Kiseki, have tried to redress the balance by releasing softer material, but one unfortunate side effect of the massive spending power of Manga Video is that most shops are still to this day displaying their anime titles beneath Manga's point-of-sale displays. Journalists outside the anime press made (and still) make no distinction between what is on the shelf, tending to reinforce the idea that anime = sex and violence; and in my opinion few of those buying Manga titles in the early days were especially interested in the fact that the films originated in Japan, as long as there was plenty of the aforementioned sex and violence.
Of course, most continental viewers started out in much the same state of ignorance. It can't have helped, for instance, that Kei And Yuri of the Dirty Pair TV series became Kate and Julie in Italy and Maison Ikkoku's Kyoko became Juliette in France.
I had rather hoped that, as with other European countries, we in Britain might next see a manga explosion, which in turn would stimulate interest in a broader range of anime. However, despite the success of one publisher with a manga project called Iron Fist Chinmi aimed at children (100,000 sold) there is no sign yet that this has opened the floodgates. Meanwhile, just as happened in Japan during the 1980s, films made directly for video is going where television fears to tread; rather than pushing the bounds of storytelling, the trend is somewhat more basic in intent, with Manga Video launching an "adult" label in Spain and erotic anime are selling very well in France.
On a more positive note, anime is expanding elsewhere in Europe, with Hayao Miyazaki's Porco Rosso and My Neighbor Totoro getting television premieres in Finland and at least 50 titles made available on video. Porco Rosso, considered a masterpiece by many, has also been dubbed and shown on Polish TV.
The Winds of Honneamise
© Manga Entertainment
In the last year, the first tentative signs of interest from British television have appeared, with Channel 4, a broadcaster with a broad alternative mandate, running several late night anime seasons--though completely dominated by Manga product. Rather more hopeful for a balanced approach is the news that the BBC has purchased both Patlabor and Wings Of Honneamise. Nevertheless, Britain remains rather the odd man out in Europe, as it does in most things, so no one is expecting to see something like the delightful love story, Kimagure Orange Road in the BBC children's broadcast slot for a long time to come.
John Gosling is a freelance writer living in England. His major credits include numerous anime video reviews for the magazine MangaMania and an article on the use of factual space concepts in anime for Spaceflight, the journal of the British Interplanetary Society.
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