毕业论文外文翻译格式.doc

因为学校对毕业论文中的外文翻译并无规定，为统一起见，特做以下要求：1、每篇字数为1500字左右，共两篇；2、每篇由两部分组成：译文+原文。3 附件中是一篇范本，具体字号、字体已标注。外文翻译（包含原文）（宋体四号加粗）外文翻译一（宋体四号加粗）作者：（宋体小四号加粗）Kim Mee Hyun Director, Policy Research & Development Team, Korean Film Council（小四号）出处：（宋体小四号加粗）Korean Cinema from Origins to Renaissance（P358P340）韩国电影的发展及前景（标题：宋体四号加粗）1996现在数量上的增长（正文：宋体小四）在过去的十年间，韩国电影经历了难以置信的增长。上个世纪60年代，韩国电影迅速崛起，然而很快便陷入停滞状态，直到90年代以后，韩国电影又重新进入繁盛时期。在这个时期，韩国电影在数量上并没有大幅的增长，但多部电影的观影人数达到了上千万人次。1996年，韩国本土电影的市场占有量只有23.1%。但是到了1998年，市场占有量增长到35.8%，到2001年更是达到了50%。虽然从1996年开始，韩国电影一直处在不断上升的过程中，但是直到1999年姜帝圭导演的生死谍变的成功才诞生了韩国电影的又一个高峰。虽然生死谍变创造了韩国电影史上的最高电影票房纪录，但是1999年以后最高票房纪录几乎每年都会被刷新。当人们都在津津乐道所谓的“韩国大片”时，2000年朴赞郁导演的共同警备区JSA和2001年郭暻泽导演的朋友均成功刷新了韩国电影最高票房纪录。2003年康佑硕导演的实尾岛和2004年姜帝圭导演的又一部力作太极旗飘扬开创了观影人数上千万人次的时代。姜帝圭和康佑硕导演在韩国电影票房史上扮演了十分重要的角色。从1993年的特警冤家到2003年的实尾岛，康佑硕导演了多部成功的电影。此外，从1996年至2004年，康佑硕管理韩国最大的电影投资发行公司Cinema Service期间，一直保持了业内的领导地位。而姜帝圭导演则通过生死谍变和太极旗飘扬充实了“韩国大片”的数量。另外，影院数量经历了爆炸性的增长，从1996年的511家增长到2005年的1648家。 电影院线的多元化，如Cj-CGV, Megabox和 Lotte Cinema等在扩大影院数量方面发挥了决定性的作用。伴随着荧幕数量的增长，这种增大发行量的方法在上世纪初本世纪初被完全认可接受，这使得发行商能够更容易快速吸引到大量观众。在韩国，实尾岛和太极旗飘扬两部电影同时上映的影院多达三四百家，几乎占了整个韩国的三分之一，这使得这两部电影有可能卖出上千万张影票。因为这些电影需要巨大的投资，也只有这些多元化的院线的建立才能够吸引大财团的资金。1997年金融危机以后，大财团投入到韩国电影工业中的资金虽然增长放缓，但院线建设还是得到了加强。最终，Cj Entertainment和Showbox两家公司所提供的资金力量不断得到加强。第三，韩国电影开始在国外市场也有着出色的表现。1996年，韩国电影的出口总值在40万美元左右，但到了2005年，出口总值几乎是1996年的190倍，达到了创纪录的7千6百万美元。在2004年，原本以韩国电视剧为主导的“韩流”也开始出现了韩国电影的身影，同时，这一年韩国电影的出口总值比前一年增长了88%。对国外市场的开发，给扩大韩国电影工业提供了机遇，同时也能够克服本国市场狭小的弊端。韩国电影正在寻找能够使得“韩流”更胜从前的新方法、新途径。质量上的提升在过去的十年中，韩国电影巨大的成功当然也包括影片质量上的提高。首先，韩国电影质量上有所提升的显著标志是韩国电影在几个国际性的电影节上有着出色的表现。2000年，林权泽导演的春香传受到戛纳电影节官方邀请参加竞赛，这在韩国电影史上还是第一次。2002年，林权泽导演凭借醉画仙获得戛纳电影节最佳导演奖。同年的威尼斯国际电影节，李昌东和文素丽凭借电影绿洲分别获得了特殊导演奖和最佳新人演员奖。2004年，朴赞郁导演又凭借影片老男孩获得了戛纳电影节的大陪审团奖。也是在同年，金基德导演凭借撒玛利亚城的女孩获得了柏林电影节最佳导演奖。第二，创办了很多国际性的电影节，如釜山国际电影节和全州国际电影节的创办都取得了巨大的成功。尤其是釜山国际电影节，自1996年创办以来，已经成长为亚洲具有代表性的电影节，它的成功使得韩国电影能够在世界范围内被人们所认识。第三，许多新晋值得关注的年轻导演开始走向人们的视线。郑勇进和金基德导演被认为是出色的导演，1996年分别凭借猪堕井的那天和鳄鱼藏尸日记同时出道。朴赞郁导演凭借共同警备区JSA和老男孩成为兼具商业票房保证和艺术魅力的导演。其他新的导演包括，导演八月蜡像馆的许秦豪，导演薄荷糖的李昌东，导演蔷花与红莲的金知云，导演杀人回忆的奉俊昊，导演丑闻的李在容等人。第四，大制作电影时代的到来。随着生死谍变的成功，很多宣称要一鸣惊人并投入超高预算的大制作电影被制作出来。但是，这些电影一部部在票房上失利。另外一方面，像杀人回忆、薄荷糖、蔷花与红莲、老男孩等电影虽然并非史诗巨作，但也都在票房上取得成功。大制作电影开始特定的指向这些电影，投资商及制片人尽可能的在保证合理预算的同时提升影片质量。第五，韩国电影振兴委员会在1999年5月8日成立。韩国电影振兴委员会成功取代了有政府支持的电影促进会，转变喂非官方的组织。电影振兴委员会实施多种扶持计划，系统地理性地帮助艺术电影、独立电影、小制作电影的制作。随着低成本的小电影增长，许多导演的艺术特色通过这些电影被人们所认识。附外文原文（宋体小四号加粗）The Growth and Outlook of the Korean Cinema1996Present（外文标题：四号加粗）Growth in QuantityOver the past decade, Korean cinema has shown incredible growth. Its renaissance has come after a long period of stagnation after the heyday of the 1960s. With regard to quantity, the number of films produced did not increase greatly but audiences for Korean films surged to ten million people for some films. The market share for Korean cinema was 23.1 per cent in 1996. In 1998 it increased to 35.8 per cent, and in 2001 it passed 50per cent. Although Korean cinema was on a consistent upward curve form 1996,the success of Swiri (Kang Je-kyu 1999) triggered a boom,. Even since Swiri became the biggest box-office hit in Korean film history, new records for Korean films have been set every year. Amid talk of “Korean blockbusters,” joint Security Area /JSA (Park Chen-wook,2000) and Friend (Kwak kyung-taek,2001) topped the box-office. Silmido (Kang woosuk) in 2003 and Tae-guk-gi (Kang Je-kyu) in 2004,inaugurated the ten millen-audience era. Kang Woo-suk and Kang Je-kyu have played an important role in the box- office history of Korean films. Kang woo-suk has directed many successful films from Two Cops in 1993 to Silmido in 2003. Furthermore, he has maintained his position as the leading figure in the Chungmuro scene form 1996 to 2004 while managing Cinema Service, a film production and distribution company. Kang Je-kyu extended the Korean blockbuster film with Swiri and Tae-gun-gi. Second, the number of screens has boomed form 511 in 1996 to 1,648 in 2005. Multiplex theater chains such an Cj-CGV, Megabox, and Lotte Cinema have played a decisive role in this. Along with the increase in the number of screens, the “wide release” method was fully adopted at the turn of the century, making it easier to attract a large audience rapidly. Silmido and Tae-guk-gi were released simultaneously on about three or four hundred screens around the country-a third of the national total-making it possible to sell more than ten million tickets. Because they require heavy investment, multiplex theaters are founded upon large conglomerate (or chaebol) capital. After the IMF crisis of 1997, the chaebolshesitant advance into the Korean film industry accelerated with the building of the multiplex theaters. As a result, the power of chaebol capital represented by Cj Entertainment (belonging to Cheil jedang Grounp) and Showbox (Orion Group) is strengthening.Third, Korean films have begun to perform well in foreign markets. In 1996, the total export value of Korean films was around US$400,000. However, in 2005, it was 190 that amount, setting a new record of US$76 million. In 2004,it was judged that the Korean television drama “hallyu (Korean wave,韩流)” was emerging in the cinema too, and the total experts of Korean films showed an increase of 88 per cent over the previous year. Considering that expansion into foreign markets provides the opportunity to expand the scale of the Korean film industry and overcome the limits of the domestic market, the Korean film industry is looking for ways to make the most of the hallyu fever.Growth in QualityGreat success has also been achieved in quality over the last decade. First, Korean cinema has achieved remarkable success at major international film fesivals. In 2000, Chunhyang (Im Kwon-taek) was officially invited to compete at Cannes-a first in the Korean film history. In 2002, Im Kwontaek received the Best Director Award at the Cannes Film festival for Chihwaseon. In the same year, Lee Changdong and Moon So-ri won the Special Directors Award and the Marcello Mastroianni Award at the Venice International Film Festival for Oasis. In 2004, Park Chan-wook won the Grand Jury Prize at Cannes for Old Boy. In the same year, Kim ki-duk was awarded the Best Director Award for Samarian Girl at Berlin and for 3-Iron at Venice.Second, many international film festivals, including Pusan International film Festival(PIFF), Jeonju International Fantastic Film Festival (PiFan), were launched and have been quite successful. In particular, since its 1996 launch PIFF has grown into a film festival representing Asia, and its success has made Korean films known and well received worldwide.Third, many new and noteworthy directors have come onto the scene. Hong Sangsoo and Kim Ki-duk are considered outstanding auteur directors. They both debuted in 1996, with The Day a Pig Fell into a Well and Crocodile respectively。Park Chan-wook rose to become a star commercial and artistic director with Joint Security Area/JSA and Old Boy. Other new directors include Hur Jin-ho of Christmas in August (1998), Lee Chang-dong of A Peppermint candy(1999),Kim Jee-woon of A Tale of Two Sisters(2003),Bong Joon-ho of Memories of Murder(2003),and E J-yong of Untold Scandal(2003).Fourth, the term “well-made film” came into being. With Swiris success, many high budget films claiming to be Korean blockbusters were made. However, they failed at the box-office one after another. On the other hand, although films like Memories of Murder, Untold Scandal, A Tale of Two Sisters, and Old Boy-all received in 2003-were not epic productions, they achieved unexpected box-office success and positive reviews. The term “well-made film” began to designate such films, and producers were able to achieve the utmost quality while striving for the most appropriate budget.Fifth, the Korean Film Council (KOFIC) was launched on 8 May 1999.Transformed from the government-supported Korean Motion Picture Promotion Corporation (KMPPC) into a non-government organization, KOFIC has carried out various support programs for art films, independent films and short films in a systematic and rational way. As short film productions increased, many directors made their feature debut after being recognized for their talent in short films.外文翻译二作者：Daniel D. H. PARK, Director of International Promotion Department 出处：Korean Cinema 2005（P10P11）在过去的十年之间，韩国电影在数量和质量上都取得了显而易见得跨越式发展。但是也存在着一些未来继续发展的障碍。首先，有很明显的两级分化现象，大量的观众眼球只集中在某部特定的影片中，从而导致了一小部分的电影却占据了荧幕的支配地位。例如，在实尾岛上映的那一周，虽然它的票房达到了上千万人次，但却和太极旗飘扬一起占据了整个韩国三分之二以上的荧幕。超级大片和那些上座率超千万人次的大制作电影的扩张，在票房上取得了成功，却使得小制作电影失去了成长的空间。虽然院线在独立电影、小成本电影和艺术电影上的发行放映上得到了韩国电影振兴委员会不遗余力的支持，但观影人数却没有大的增长。2004年，韩国本土电影和好莱坞电影占据了韩国电影市场份额的65.4%。金基德的空房间和洪尚秀的女人是男人的未来两部艺术片在全国范围内分别只吸引到了95，000和285，000人次的观众。在这种大环境下，首尔的主体电影节，以及首尔独立电影节，还有一些像韩国实验电影协会和韩国独立电影及影像协会这样的机构，都在为从不同地区引进不同类型电影做着艰苦的努力。其次，鉴于观众倾向于大制作电影，超出想象的制作方式、流星般闪过的明星的力量以及电影预算都在急速又危险的增长。1996年，韩国电影平均的预算不超过十亿韩元（美元1，190，480），其中900万韩元的电影产品预算和100万韩元的的市场预算。但是，2004年，电影产品和市场的预算各自增长到了28亿韩国（美元2，705，314）和14亿韩元（美元1，352，657），这使得平均的总预算达到了42亿韩元（美元4，057，971）。同时，抛开预算的增长，使用在劳动力上的预算并没有增加多少，这中情况可能使得电影工业中的人力资源枯竭。韩国电影曾经依靠积极努力的工作和不断的生产各类型电影而成功的吸引了大量观众。但是，韩国电影工业中富的更富，穷的更穷的状况，使得韩国电影正处在危机的边缘。然而，一个值得关注的新的现象是数字电影作品的活跃。数字电影作品可以无需依靠主流的制作系统，而尽可能的降低预算。如卢东石导演的我们这一代（2004）和申才茵导演的申星一不见了（2005）以及Yoon Jong-bin导演的不可饶恕等就是数字电影的代表作。同时，韩国全州国际电影节中“数字电影的三个制作者”系列已经成功建立并使之成为亚洲电影中标志性的节目。数字电影和独立电影将很有可能会是韩国电影下一个十年主流电影不可或缺的选择。附外文原文Over the past decade, Korean cinema has definitely made a brilliant leap forward in quantity as well as in quality. However , there are a few issues that could be obstacles to future growth. First, there in polarization, whereby the audience comes together to see only one specific film and as a result a small number of titles dominates the screens. On the week when Silmido recorded its ten millionth ticket sale, it shared about two thirds of the total number of screens together with tae-guk-gi. The emergence of Korean blockbusters and the ten-million-audience film has amplified illusions about big films and box-office successes and small films are slowly losing ground. Although the Network of movie theaters specializing in independent films, low budget films and art films called Art plus Cinema Network (Renamed Nextplus Cinema Network in 2006) is in operation with support from KOFIC, there is little increase in the art film audience. In 2004, Korean and Hollywood films took 95.4 per cent of the total film market. And in the midst of joy over the-million-audience film, Kim Ki-duks 3-Iron and Hong Sangsoos Woman is the Future of Man attracted only 95,000 and 285,000 people respectively across the nation. Under such circumstances, thematic film festival in Seoul, and Seoul Independent Film Festival, as well as organizations like the Korean Association of Cinematheques and Association of Korean Independent Film & Video, are all struggling hard to introduce various films from various eras and around the world.Second, due to the audience preference for big budget films, the wide release method, and skyrocketing budgets are rising steeply. In 1996, the average budget for Korean film did not exceed 1 billion won (US$1,190,480), with 900 million for production and 100 million for marketing. However, the production and marketing budgets increased each to 2.8 billion (US$2,705,314) and 1.4 billion won (US$1,352,657) respectively, making the average total budget 4.2 billon won (US$