The movie business has been famously tough on women, who have found themselves excluded from key roles throughout the decision-making and creative processes.

電影業對女性嚴苛出了名，整個決策和創作過程都不讓女性扮演要角。

But in parts of the animation industry, women have thrived. Women hold half of the leadership positions at the major film animation companies, new research has found. And, of the top 120 animated films over the last dozen years, nearly four in 10 had female producers, which is more than double the number of women who produced live-action films in that time.

不過，在動畫業的某些部分，女人可是出頭天。最新調查研究顯示，各大型動畫片公司半數領導職位由女性出任。此外，過去12年票房最佳的120部動畫片中，近四成有女製片，比同一時期真人電影的女製片多了一倍有餘。

Still, the study, released by the Annenberg Inclusion Initiative at the University of Southern California, showed a mixed bag, especially for women of color, who accounted for just 5 percent of producers on those top animated films.

不過，美國南加州大學智庫「艾能伯格包容計畫」公布的這份調研結果顯示，情況其實憂喜兼具，尤其是有色人種女性的際遇，她們在那些票房最佳動畫片的製片人中只占5%。

Women also remained the minority in a slew of key roles elsewhere in animation.

在動畫業其他區塊的許多重要角色中，女人也仍是少數。

As cherished as such animated characters as Moana, Elsa (“Frozen”) and Judy Hopps (“Zootopia”) are, they are also rarities. Less than a fifth — 17 percent — of the 120 top animated movies from 2007 to 2018 had female leads.

雖然「海洋奇緣」的莫娜、「冰雪奇緣」的艾莎和「動物方城市」的茱蒂這類動畫片女主角深受寶愛，但她們也似鳳毛麟角。2007年到2018年120部票房最佳動畫片中，只有17%、不到兩成有女主角。

And of the 197 directors of those films, just five, or 2.5 percent, were women. Jennifer Yuh Nelson, who directed two “Kung Fu Panda” films, was the only one to appear on the list twice.

而在這120部片的197位導演中，只有五位、也就是2.5%是女性。執導「功夫熊貓」及「功夫熊貓2」的余仁英，是唯一兩度上榜的女性。

The figures stand in contrast to the number of women who are clearly hoping — and training — to rise in the business.

相對於顯然希望在動畫業崛起、並正接受訓練的女性的人數而言，前述數字少得可憐。

According to the study, about two-thirds of the students enrolled in animation programs at several top feeder schools in recent years were female. Women also directed roughly half of the animated shorts at several major film festivals in the last few years.

根據這份調查，近年來在一些頂尖附屬學校註冊修讀動畫課程的學生，女性約占三分之二。最近幾年在一些大型影展入選的動畫短片，約有半數由女性執導。

Probing further, researchers found that many women trying to work their way up in the animation business reported that their workplaces heavily favored and promoted men, and left them feeling less valued and recognized.

這些研究人員進一步探索後發現，許多有志在動畫業裡往上爬的女性說，她們的工作場所嚴重偏袒並且提拔男人，讓她們覺得比較不受重視與肯定。

The researchers said their findings indicate that the animation industry, as with so many others, is governed by a culture of “homophily” — employers’ “birds of a feather” tendency to prefer people who are just like them.

前述研究人員說，他們的研究結果顯示，動畫業就像許多其他的行業一樣，由「同質性」文化主導，雇主傾向「物以類聚」，偏愛跟他們一樣的人。

“In this case, the male-dominated nature of animation means that women feel excluded,” the report said, adding, “If the respondents to our survey and interviews are to be believed, the animation industry privileges stereotypes over skills.”

研究報告寫道：「在這個案例中，動畫業由男性主導的本質意味女性覺得被排除在外。如果我們問卷和訪談的受訪者所言屬實，那麼動畫業就是刻板印象壓過實力。」

Source article: https://paper.udn.com/udnpaper/POH0067/342730/web/