传媒英语 Unit 4.doc

Unit 4 RadioContents: Keys to the exercises Translation Supplementary Reading Part One Keys to the exercises I. Understanding the text1. The answer is open.2. Radio key traditional strength when compared to new media alternatives available today is its ability to be truly live. No recording, no streaming, no delay. Instant real-time broadcasting that can take place from nearly any place or location to report, chronicle or create live news and events. Here is the still much untapped potential of radio. Street reporting. Reality radio.3. Although the traditional radio has its unique traits and features, it also has a lot of weak points, and some of these weak points are just the strong points of the new media. If radio refuses to open itself to the convergence with new media and the Internet, it will have no power to match all those new media. On the other hand, some unique characteristics of radio, once combined with the opportunities offered by the web and new media, can permit the creation of an altogether new form of radio.4. Embrace convergence is the answer. Focus on uniqueness and thematic content is the solution. Retain radio characterizing strengths while combining and enhancing them with the power of new media technologies is the strategy.5. They can take equivalently a similar programming slant. Music focus. News focus. Specific entertainment focuses are the roads to take.6. The live human voice. It is powerful, touching and engaging. Being able to listen to something that is happening at this very second in another place is something that most humans get fascinated by. 7. Interruptive ads are dead. Strong personality, strong content. Radios will become search engines to specific content, music and programming on which they focus. Listeners will become the stars8. Media becomes a participatory medium. Nowadays, more and more traditional listeners, viewers or readers become active participants, contributors, stockholders or even marketers.II. TranslationA. Translate the following paragraphs into Chinese. 1. 在率先使用播客的拥趸者和处于另一阵营的、富于进取精神的电台经理们的推动下，调频电台已经出现了一些变化，而这些变化将是未来调频电台的主要特点。尽管这种冲击的长期影响我们现在还难以全面认清，可转变已经在发生了。2. 正如电视一样，调频电台也有着自己独有的特点和特色，但它们与新媒介以及因特网的融合是不可避免的，除非传统广播工作者们主动投身于这种融合，否则，他们将注定走向一条缓慢而痛苦的死亡之路。3. 为媒介使用者提供工具和节目空间，让他们亲自制作、剪辑和汇编他们自己的音频节目是一个全新的重要策略，这反映了在其它的媒介领域正在发生着的一场革命。4. 除非你对这些新技术带来的巨大机遇展开最大胆的想象，否则你将根本不清楚电台产业的未来是什么样的。5. 但是现如今有多少电台都没能好好利用现场声音这个巨大的潜能，它们对于现场声音的利用仅仅限于无数次向听众报告时间，或是在我们收听体育比赛直播的时候。别的时候就听不到现场的声音了。B.Translate the following sentences into English, using the expressions in brackets.1. Facing the challenges from so many new media, he decided to regroup the press.2. Portability is one of the traits unique to radio.3. Traditional medias convergence with new media is inevitable.4. For those radio stations that are unwilling to make change, it is a losing battle from the very start. 5. We can learn good lessons from other media and take a programming slant.III. Vocabulary activityOpenIV. Oral activityOpenPart Two TranslationSection A播客与传统广播的未来很多人都认为，播客会“改变”传统广播，果真如此吗？有些人甚至认为，传统广播目前正在走向衰亡正是因为播客和卫星广播的出现迅速而又势不可挡；另外，众多美国风格的商业电台节目质量低劣也是原因之一。虽然我100%地相信播客一定会对传统广播产生重要影响（这一点我们都知道），可我并不认为它会导致传统广播走向死亡。在率先使用播客的拥趸者和处于另一阵营的、富于进取精神的电台经理们的推动下，调频电台已经出现了一些变化，而这些变化将是未来调频电台的主要特点。尽管这种冲击的长期影响我们现在还难以全面认清，可转变已经在发生了。如果你的电台还没有出现这种转变，那就到了你重组电台的时候了，而且你还需要严肃地问自己几个问题。比如：如果听众可以通过其它途径更容易地获得他们想要和喜欢的音乐，同时拥有更棒的音响效果和更多的主动权，那他们为什么还要继续收听你的电台呢？面对便携式MP3播放器，多媒体电话和笔记本电脑出色的音频效果和可靠性，你的调频电台信号如何与它们匹敌？很多商业电台节目中的广告喋喋不休、令人生厌，不但使节目中断，还和节目毫不相干，为什么听众还要劳神听这样的节目？正如电视一样，调频电台也有着自己独有的特点和特色，但它们与新媒介以及因特网的融合是不可避免的，除非传统广播工作者们主动投身于这种融合，否则，他们将注定走向一条缓慢而痛苦的死亡之路。传统广播首先应该承认的一个现实就是：广播作为自动唱片点唱机的时代一去不复返了。竞争来自像P2P文件共享这样的新媒介技术，像iTune、便携式MP3播放器这样的在线音乐交换设备，其它出色的音频设备还有自动多媒体电话。巨大的播客浪潮为使用者带来的体验如此之丰富，以致对于想要做“自动唱片点唱机”的广播来讲，这从一开始就是一场必败之战。如今的孩子决不会抛开自己的MP3音乐播放列表或个性化的网上流媒体广播台而去选择听收音机，因为它们之间根本没有可比性。既然如此，传统广播电台该做些什么来捍卫自己的未来呢？1 答案：欣然接受（与新媒体的）融合。2 解决方法：把重点放在开拓自身独特性和主题内容上。3 策略：在与新媒体技术相互融合和相互促进的同时保留广播富于自身特性的长处。正如我们所知，广播的确有它自身的独特之处，而这些特点一旦与网络和新媒介提供的机遇融合，就会催生出全新的广播模式，这种模式超越电波和光纤，开创新的媒介设计，带给听众在别处无法获得的高质量节目。那么什么才是传统广播应该作为杠杆加以强化利用的独有特性呢？那些由新媒介技术和网络创造的、应该被传统广播融入到自己节目策略中的机遇又是什么呢？以下是一些要点： 与当下的新媒介比较而言，广播最主要的传统优势就是它能够做到真正的“直播”。没有录音，没有流媒体制作，没有延迟。实时广播在任何地点、任何场合都可以报道、记录或是提供“现场”新闻和事件。还有广播尚未充分开发的潜能：街头报道以及真人秀节目。 未来的媒介将会是媒介使用者参与到节目中来自己成为制片人、主持人或是DJ。 为媒介使用者提供工具和节目空间，让他们亲自制作、剪辑和汇编他们自己的音频节目是一个全新的重要策略，这反映了在其它的媒介领域正在发生着的一场革命。 在节目中插播的广告已经没有出路了，不要再指望这些广告。对那些衣服上有蓝纽扣的广告经理们而言，未来的广播电台是可听的、互动式的媒介，是一种“全新的品牌体验”。对于拥有巨大能量的主题品牌和主题赞助而言，主题电台频道是绝佳的载体。未来的电台广告将不再打断节目，将是用户界面友好的和独立的，它把独具特色的主题内容和一些有限的精选赞助商结合在一起，为听众带来不同的体验。这就需要传统电台改变自己以适应新的要求，它们需要更多地反映眼下播客中的焦点内容，同时摒弃那些令人生厌的、不停打断节目内容的广告方式。 利基娱乐定位和主题内容报道在当今大行其道，在这方面，播客进一步吸引了人们的注意力。传统的广播节目为了吸引更多的听众，需要把自己办成综合性节目；与之相比，播客认为特定类型的音乐、新闻或评论正变得越来越重要。“新广播”需要有一个突出的重点、主题和身份。这就意味着新兴电台可以从博客和有着鲜明侧重点的独立新闻网站中汲取经验，同样对节目采取相似的倾斜政策。比如说侧重音乐，侧重新闻，或是侧重娱乐（做听众的实时卡拉OK）都是可选的策略。 考虑到电台与因特网，P2P以及Wi-Fi/Wi-Max等新技术融合带来的机遇，大多数人很自然就会想到电台应该是“全球化”或是“国际化”的，但实际上电台的节目内容更适合侧重于“本土化”（本土化的新闻，音乐，事件，人物，产品或是问题），同时辅之以“全球化”传播，这样才能完成真正成功的融合。 突出的个性，突出的内容。新兴电台也得听从Cluetrain的教导。除非电台能重现那些直率而又自然的报道，那种对节目的驾驭，那种现场谈话节目的情感力量，否则我们恐怕还是会选择新鲜的便携式TiVo, MP3 和 iPod。就象博客一样，未来成功而又独立的广播电台中很多都会有自己鲜明的、独特的个性。英国广播公司最近的一篇文章中谈到，播客已经在像影响其它媒介一样影响着电台了。文章说播客“将会使电台重获新生”，因为播客“更侧重节目自身的内容”。 对于已经开始的、独立的音乐革命而言，未来的电台必须意识到，它注定的新角色就是成为权威的、未经策划的、独立的信息交换中心大军中的一员。如果你没听说过长尾理论，你应该了解一下，因为该理论支持我刚才谈到的在制作中需要独立革命的论点，你可以从中找到答案和参考。 录音。存档。凡是播放过的每一个节目、采访或是每一条新闻，听众都能触手可及，这是电台未来发展方向的一部分。除非你对这些新技术带来的巨大机遇展开最大胆的想象，否则你将根本不清楚电台产业的未来是什么样的。所以，请不要再考虑广告了。 对于新音乐、新闻和报道方面的天才来说，未来的新兴平民型广播和在线广播将是他们崭露头角的宝贵阵地。事实上，很多电台都会致力于这样一个课题：如何使自己成为专业化的新型人才的挖掘基地。搜寻和鉴别新型人才的才能，并将这一才能通过一个特定的展示平台展现出来与大家分享，这正是一些最棒的博客管理人、评议专家或猎头公司在其它领域所做的事情。 现场的声音使广播给听众带来完全不同的体验。它是那么强大，有感染力和引人入胜。聆听此时此刻正在另外一个地方发生着的事情对于大多数人来说都非常有吸引力。但是现如今有多少电台都没能好好利用现场声音这个巨大的潜能，它们对于现场声音的利用仅仅限于无数次向听众报告时间，或是在我们收听体育比赛直播的时候。别的时候就听不到现场的声音了。所以这一点是未来的电台广播需要注意的地方。 电台广播将成为搜索特定内容、音乐或节目的搜索引擎。一些电台甚至会成为挑选主题内容中间商，从浩如烟海的开放性资源中挑选合适的内容构建自己的全部节目。 在未来的电台中，听众将成为明星，他们才是节目内容的核心创造者和制作者。听众将自己制作表演节目，汇编节目，甚至现场的娱乐节目。在通讯社记者无法赶到的地方，听众却可以充当街头记者进行现场报道，他们的表现比警方还要好。未来的电台将会为听众免费提供工具、设备、渠道，使他们能亲身接触到节目内容，允许他们查询、剪辑或汇编独具特色的记录片、调查性报道、艺术蒙太奇或是特别内容选集。 电台将是多频道和多模式的。将来每个电台都可以轻松地将自己的内容细分化，把自己扩充成多频道电台，而无需在基础设施方面耗费额外的开支。而大量的各种各样的媒介设施则使电台的多模式成为可能，这在今天已经显而易见。这就是我对于未来的电台广播将走向何方的一些想法、念头和思路。还有更多其它的点子，我想你们肯定也在思考。当然，上述很多想法也适用于电视，还可以应用到很多其它可能会消失的媒介中去。 显而易见的是，正像其它新技术改变了传统媒介的角色一样博客冲击着报纸， 数字硬盘录像机使观众可以跳过广告，收看自己错过的但却喜欢的电视节目，P2P技术则在我们获取和收听所喜欢音乐的方式上掀起了一场革命播客大潮也正在改变着电台广播。所有这些变化都指向同一个特性，而这个特性正是目前发生的所有媒介革命的特点：媒体变成一种参与性的媒介，传统的听众可以置身其中，把自己变成积极的参与者、制作人、股东甚至出售节目的营销商。都来收听广播吧！Section B制作自己的广播节目广播节目样式你的广播节目可以做成很多种样式。所以在开始录音或采访之前必须先要确定你想要的节目类型。大多数广播节目先是由播音员播送节目的部分内容，然后插入节目中当事人的录音片段。 音景运用数字技术混录的、与事件或主题相关的背景声和说话声，时长通常为4到5分钟。 微型片段主题精练的广播词和声音/采访的混录片段，时长通常为4到6分钟。 解说词录制到磁带上的广播词（预先写好或编辑过的），这些广播词一般都是讲个人问题或经历的，而不涉及宏观问题，时长通常为3分钟。 采访路人就某一事件或问题被采访人或采访人的声音片段（一个接一个的），通常是向所有被采访者提出同样的问题，时长大约3到4分钟。 讨论录制好的小组讨论，题目由小组成员选定，原来20分钟的自由讨论通常会被剪辑成5到6分钟左右的可播录音。广播稿件写作 广播稿件写作必须紧凑清晰，最重要的是要有趣味性。 要有创意，要注意谴词、音响和语言。 一个句子只表达一个意思。 在播送新闻时，导语里使用现在时或现在完成时态的动词。 标明消息来源、出处，必要时使用解释性的引文。 尽可能使用常见的、一到两个音节的词语。 使用充满活力的动词。简洁的句子加上生机勃勃的动词会使稿件富有表现力。 使用现在时态。现在时态让你的新闻稿件充满即时性和活力，让听众觉得他们收听的是正在发生的新闻。 广播是交谈式的媒体，所以你的稿件听起来应该是用来“说的”，而不是用来“读的”。 让你的磁带一直转着。广播有一条黄金法则：收听效果的最佳时刻往往在你停止录音的那一瞬间到来。这是有理由的：当你按下“停止”键的时候，听众会松一口气，恢复自然状态。自然、真实的瞬间是无价的。而磁带很便宜，所以，让你的磁带一直转着，保持录音状态吧。采访 要想让人们开诚布公地谈话，有一条简单的原则：你必须对你周围的世界真正地感兴趣。 让被采访者在采访录音中确认他们自己的身份。在采访开始时，你可以问一些诸如“请问你是谁啊？”（即便你知道他们是谁！）、“你多大了？”、“你是做什么的？”或是“做这工作多久了？”之类的问题，其它恰当的导入性问题也行，只要这问题有利于你挖掘详尽的新闻。 一旦找到想要采访的人，你最好把要涉及的题目和想要问的问题列成一个单子。 准备好采访问题的单子；但你要记住，被采访者有可能带来意外的评论或信息，所以你要认真倾听，如有必要，随时改变你的采访重点。 好的采访是两个或几个人之间的对话。即使你是问问题的，你也应该参与到对话中去。 当采访对象说话时，你要保持绝对安静。不要笑，千万不要打断采访对象。 不要让外部嘈杂的声音破坏你的录音。如果有火车经过或是有汽笛或什么其它噪音，就先停下采访，直到噪音消失。如果采访对象正说到关键环节的一半，让他说完，然后再请他重复一遍。 帮助被采访者，使他的语言更具描述性。为了让采访对象描述的信息更具视觉效果，请他用语言把要描述的东西绘制成一幅图画。 情感内容在广播节目中会产生极好的效果。诸如“这让你有何感受？”这类的问题会让你得到绝佳的采访录音。 不要怕重新录音。记住：任何东西都是可以编辑的。如果不行就重新录，直到你对节目完全满意为止。音响 周围的音响和环境会给你的节目加分。采访完之后再采集一些背景音响会给你的节目增色不少。 收集一些好的音响。每次录音的时候，收集所有你能想到的特定的音响：狗吠声、海浪声、走廊里的学生、赛场上的声音、摔门声、打开收音机的声音、搅拌机的声音等等。要有创意。以后做节目的时候你会用得着这些音响。 如果你做一篇关于交通的报道，那就录下汽车声和喇叭声；如果节目谈论的是大海，钓鱼，那浪花溅到岩石上的声音就必不可少。组合资料在把录音输入到电脑里之前自己先听听是个不错的主意。写一个录音列表（把录音磁带上的内容列成一个单子），标明录音的时间和内容。这有助于你把录音剪辑成你要做的节目样式。然后把可用的材料都输入到电脑里，再用CoolEdit软件进行编辑即可。Part Three Supplementary Reading The Basics for NewswritingSource:/basics.htmlThese pages provide an introduction to radio newswriting. The topics cover sentence structure, how to begin stories, the proper use of numbers in scripts, how to rewrite newspaper stories and press releases, and how to prepare broadcast scripts based on information from law enforcement officials.1 Avoiding Cop TalkMany of the stories we report involve crimes and police attempts to apprehend those responsible. The importance of these stories to our listeners, as well as the often complex and uncertain nature of police investigations, can be quite intimidating for young reporters, with the result that they frequently repeat verbatim the description of a crime given to them by a police official. Dont do the police in different voicesPolice officers are taught to describe their investigations in a way that provides specific details of events with the vaguest possible discussions about those whom police believe responsible. This cop talk developed from the legal requirements that enforcement officials need to meet in order to make arrests and gain convictions. But cop talk is inadequate for reporting on radio. Heres an example of cop talk, a story only slightly modified from what was broadcast on a small-market station: l Two men are under arrest for robbing a jewelry store. Police say the men entered the village pawn shop at 1407 main street at approximately 10:15 yesterday morning. After waiting inside the store for a few minutes, one of the men displayed a gun and ordered two employees to place into a duffel bag all the cash from the register as well as several items of jewelry. There was no one else in the store at the time. The men left the store, and one employee was able to see the men drive off in a blue dodge aries. The employees notified police, and at approximately 11 oclock a vehicle matching the description of the getaway car was spotted parked in an alley in back of a house at 684 willow street. Police entered the house where they found two men, an amount of money, and items of jewelry later identified as having been taken from the store. A computer check of the vehicle determined that it was stolen. The men were identified as 34-year-old miles standish of middleville and 28-year-old john alden of smalltown. The men will face a variety of charges.Cut irrelevant detailsThis script (which runs about 54 seconds) is far too long, with irrelevant details such as the make and model of the getaway car, while the identification of the suspects isnt revealed until the very end. It is obvious that the reporter merely repeated the words of a police officer or of a police press release. Heres a brief rewrite of the script (which now runs 31 seconds): l Two men are behind bars this morning after an armed robbery of a middleville pawn shop. Police say 34-year-old miles standish of middleville and 28-year-old john alden of smalltown robbed the village pawn shop on main street yesterday, forcing two workers at gunpoint to stuff a duffel bag with money and jewelry. The suspects were later arrested in a house on willow street after police say they spotted the getaway car behind the home and items taken in the heist were found inside the house. Standish and alden are expected to face a variety of charges. The new version has the police making the allegations against the two suspects (as is legal and proper), but many details unnecessary to the main point of the story have been removed. But dont make the opposite mistake of being too informalCop talk is predominantly a problem in small-market stations in stories by inexperienced reporters, but the opposite extreme seems to be taking hold in larger markets. Big-city reporters are becoming exceedingly colloquial in their language when covering police stories. Heres an example that aired on a major-market station in New England. The story concerned a stolen minivan in which a mother had left two babies inside. In telling the story the reporter said: l .A woman left two infants in the van while she dropped off an older child at daycare. The van was still running, and meanwhile some guy must have jumped in and drove off. When he realized there were two infants in back, he ditched the van, and police are now searching for the guy in some nearby woods. But thankfully the kids are okay.This script does not clearly report what police believe to have happened. In fact, the script seems to indicate that this version of events is merely speculation on the part of the reporter. There was no indication of any witness seeing who drove the minivan away. Perhaps the driver was a woman. Moreover, there is no evidence for the alleged motivation of this mystery driver to have abandoned the minivan. Maybe the driver saw the babies, maybe the driver didnt. Just as troubling as the sloppiness with which this script was put together was the overly conversational tone. A suspect of unknown sex should be called a suspect. If an unidentified suspect is a man, he should be called a man - not some guy. Being too chatty damages the credibility of the reporter to be an authoritative source of information. Radio reporters need to strike a balance in the language they use. Scripts cannot be ploddingly detailed and dull, yet being too colloquial may lead to sloppiness and lack of credibility.2 Broadcast Sentence-StructureJournalism instructors often state that broadcast newswriting is supposed to sound just like everyday speech. In essence, however, writing broadcast news is more akin to writing song lyrics. Both tasks involve constructing language in a visual form (writing) for communication in an oral form (speaking or singing). Like song lyrics, broadcast newswriting adheres to patterns of language use (such as appropriate vocabulary and formulaic sentence-structure) that the audience expects to hear and will use in interpreting the communication. Even though commercial broadcasting has been around for less than a century, radio listeners have come to expect their newscasts to be written in a particular way. Learning about broadcast sentence-structure is one of the foundations for developing effective skills at radio newswriting. Keep it simpleGrammarians distinguish between three types of sentences: simple, compound and complex. A simple sentence contains a subject and a verb. A compound sentence is composed of two simple sentences joined by a coordinating conjunction (and, but, or, nor). A complex sentence is composed of two simple sentences joined by a subordinating conjunction (which may be temporal, such as when; causal, such as because; or concessive, such as although). You probably remember this lesson from elementary school, but the distinctions remain quite relevant to broadcast newswriting. In your scripts, simple sentences are best. You will, of course, regularly use compound and complex sentences, but the clarity achieved through the use of simple sentences can rarely be surpassed. Linguists describe English as a highly asyndetic language - which means that clauses in the same train of thought do not always need to be connected by conjunctions or connecting particles. Such particles in English include the words moreover, furthermore, and however, words that should be avoided in broadcast newswriting. Listeners are themselves capable of connecting the elements of a story if the story is presented clearly and concisely, and these listeners expect important news to be reported in simple sentences. This expectation is especially true of leads, which generally should be written as simple sentences. When a lead begins with a subordinating conjunction, listeners discount the storys urgency. This is why such leads almost always appear in feature stories or zingers. Avoid your relativesRelative clauses, which begin with a relative pronoun or adverb such as who, which or where, provide additional information about a noun in a sentence. Those relative clauses which interrupt the flow of the sentence should not be used in broadcast newswriting. In a text communicated visually, a reader has the words on a page or screen to help guide him back to the story after the detour of a relative clause. Listeners do not have such a guide and must rely on the speaker to provide information in readily understood clauses that are concise and uninterrupted. A sentence with an interrupting relative clause should be rewritten into two simple sentences. Take the following example: l Fred grandy.who played gopher on the original loveboat t-v series.later spent 8 years as a congressman from iowa.A clearer means of expressing the same information is through two simple sentences: l Fred grandy played gopher on the original love boat t-v series. He later spent 8 years as a congressman from iowa.Recognize that apposition - the placing of a noun or phrase after another noun and marked off only by commas or, in this very example, dashes - is like a relative clause without the relative pronoun. Long, interrupting appositions, like interrupting relative clauses, should be avoided in broadcast newswriting. Relative clauses and appositions can be used at the end of a sentence. This placement is especially useful for clauses beginning with the adverb where, as in l Fire destroyed the historic home, where george washington once slept.Clauses beginning with who or which are acceptable when placed at the end of a sentence, but sometimes it may be