2021年06月六级第3套长篇阅读匹配原文翻译及答案

A) Digital humans are coming to a screen near you. As computer-generated imagery (CGI) has become cheaper and more sophisticated, the film industry can now convincingly recreate people on screen, even actors who have been dead for decades. The technology's ability to effectively keep celebrities alive beyond the grave is raising questions about public legacies and image rights.

数字人类正向你走来。随着计算机生成图像（CGI）变得更便宜和更复杂，电影行业现在可以在屏幕上令人信服地重现人物，甚至是已故数十年的演员。这项技术能够让名人死后“复活”，这引发了关于公共遗产和形象权利的问题。

B) Late in 2019, it was announced that US actor James Dean, who died in 1955, will star in a Vietnam War film scheduled for release later this year. In the film, which will be called Finding Jack, Dean will be recreated on screen with CGI based on old footage (影片镜头) and photographs, with another actor voicing him. The news was met with excitement by those keen to see Dean digitally brought back to life for only his fourth film, but it also drew sharp criticism. "This is puppeteering the dead for their fame alone," actress Zelda Williams wrote on Twitter. "It sets such an awful precedent for the future of performance." Het father, Robin Williams, who died in 2014, was-keen to avoid the same fate, Before his death, he filed a deed protecting the use of his image until 2039, preventing others from recreating him using CGI to appear in a film, TV show or as a hologram (全息影像).

2019年底，宣布已故美国演员詹姆斯·迪恩（1955年去世）将主演一部计划于今年晚些时候上映的越战电影。在这部名为《寻找杰克》的电影中，迪恩将基于旧影片镜头和照片，通过CGI技术在屏幕上重现，由另一位演员为他配音。那些渴望看到迪恩数字化复活的人们对此消息感到兴奋，因为这将是他仅有的第四部电影，但也引来了尖锐批评。女演员泽尔达·威廉姆斯在推特上写道：“这是仅仅为了名声而操纵死者的行为。这为表演的未来树立了糟糕的先例。”她的父亲罗宾·威廉姆斯（2014年去世）生前极力避免同样的命运，在去世前，他提交了一份契约保护其形象的使用权直到2039年，防止他人使用CGI技术重现他出现在电影、电视节目或全息影像中。

C) The James Dean film is a way to keep the actor's image relevant for younger generations, says Mark Roesler of CMG Worldwide, the firm that represents Dean's estate. "I think this is the beginning of an entire wave," says Travis Cloyd, CEO of Worldwide XR, one of the companies behind the digital recreation of Dean. "Moving into the future, we want James Dean to be brought into different gaming environments, or different virtual reality environments, or augmented reality environments," he says.

代表迪恩遗产的CMG Worldwide公司的马克·罗斯勒表示，这部电影是让这位演员的形象在年轻一代中保持相关性的一种方式。Worldwide XR公司的首席执行官特拉维斯·克洛伊德说：“我认为这是一波浪潮的开始。”该公司是迪恩数字重现的幕后公司之一。他说：“展望未来，我们希望詹姆斯·迪恩能进入不同的游戏环境、虚拟现实环境或增强现实环境。”

D) Other actors have been revived, with the permission of their estates, for advertising purposes: for example, a 2011 advertisement for Dior featured contemporary actress Charlize Theron alongside iconic 20th-century stars Marilyn Monroe, Grace Kelly and Marlene Dietrich. Later, Audrey Hepburn was digitally recreated for a chocolate commercial in 2013. In the same year, a CGI Bruce Lee appeared in a Chinese-language ad for a whisky brand, which offended many fans because Lee was widely known not to drink alcohol at all. "In the last five years, it's become more affordable and more achievable in a whole movie," says Tim Webber at UK visual effects firm Framestore, the company behind the Hepburn chocolate ad. Framestore used body doubles with resemblance to Hepburn's facial structure and body shape as a framework for manual animation. The process was extremely difficult and expensive, says Webber, but the technology has moved on.

其他演员也在遗产许可下，为广告目的而被“复活”：例如，2011年迪奥的广告中，当代女演员查理兹·塞隆与20世纪标志性明星玛丽莲·梦露、格蕾丝·凯利和玛琳·黛德丽同台。后来，奥黛丽·赫本在2013年的一则巧克力广告中被数字化重现。同年，CGI版李小龙出现在一个威士忌品牌的中文广告中，这冒犯了许多粉丝，因为众所周知李小龙滴酒不沾。英国视觉特效公司Framestore的蒂姆·韦伯说：“在过去五年里，在整部电影中使用这项技术变得更便宜、更可行。”Framestore是赫本巧克力广告的幕后公司。该公司使用与赫本面部结构和体型相似的替身作为手动动画的框架。韦伯说，这个过程极其困难和昂贵，但技术已经进步。

E) Now, a person can be animated from scratch. "If they're alive today, you can put them in scanning rigs, you can get every detail of their body analysed very carefully and that makes it much easier, whereas working from available photographs is tricky," says Webber, who won an Academy Award for his visual effects work on the 2013 film Gravity. "I also see a lot of actors today who will have the desire to take advantage of this technology: to have their likeness captured and stored for future content," says Cloyd. "They foresee this being something that could give their estates and give their families the ability to make money from their likeness when they're gone."

现在，一个人可以从零开始被动画化。凭借在2013年电影《地心引力》中的视觉特效工作获得奥斯卡奖的韦伯说：“如果他们今天还活着，你可以把他们放进扫描设备中，你可以非常仔细地分析他们身体的每一个细节，这使得事情变得容易得多，而从可用的照片工作就很棘手。”克洛伊德说：“我也看到今天许多演员希望利用这项技术：捕捉并存储他们的肖像以供未来内容使用。”“他们预见这可能让他们的遗产和家人在他们去世后通过他们的肖像赚钱。”

F) A hidden hazard of digitally recreating a deceased (已故的) celebrity is the risk of damaging their legacy. "We have to respect the security and the integrity of rights holders," says John Canning at Digital Domain, a US firm that created a hologram rapper (说唱艺人) Tupac Shakur, which appeared at the Coachella music festival in 201Z, 15 years after his death.

数字化重现已故名人的一个隐藏风险是损害他们的遗产。美国公司Digital Domain的约翰·坎宁说：“我们必须尊重权利持有者的安全和完整性。”该公司创建了一个说唱艺人图帕克·夏库尔的全息影像，他在201Z年去世15年后出现在科切拉音乐节上。

G) Legally, a person's rights to control the commercial use of their name and image beyond their death differ between and even within countries. In certain US states, for example, these rights are treated similarly to property rights, and are transferable to a person's heirs. In California; under the Celebrities Rights Act, the personality rights for a celebrity last for 70 years after their death. "We've got a societal debate going on about access to our public commons, as it were, about famous faces," says Lilian Edwards at Newcastle University, UK. Should the public be allowed to use or reproduce images of famous people, given how iconic they are? And what is in. the best interest of a deceased person's legacy may conflict with the desires of their family or the public, says Edwards.

在法律上，一个人在去世后控制其姓名和形象商业使用的权利在不同国家甚至同一国家内都有差异。例如，在美国某些州，这些权利被视为类似财产权，并且可转移给继承人。在加利福尼亚州，根据《名人权利法》，名人的个性权利在其去世后持续70年。英国纽卡斯尔大学的莉莲·爱德华兹说：“我们正在进行一场关于进入我们公共领域的社会辩论，可以说是关于名人面孔的。”鉴于名人的标志性地位，公众是否应该被允许使用或复制他们的形象？爱德华兹说，已故人物遗产的最佳利益可能与家人或公众的欲望相冲突。

H) A recreation, however lifelike, will never be indistinguishable from a real actor, says Webber. "When we are bringing someone back, representing someone who is no longer alive on the screen, what we are doing is extremely sophisticated digital make-up," he says, "A performance is a lot more than a physical resemblance."

韦伯说，一个重现，无论多么逼真，都永远无法与真正的演员区分。他说：“当我们把某人带回来，在屏幕上代表一个不再活着的人时，我们做的是极其复杂的数字化妆。表演远不止是外貌相似。”

I) As it becomes easier to digitally recreate celebrities and to entirely manufacture on-screen identities, could this kind of technology put actors out of jobs? "I think actors are worried about this," says Edwards. "But I think it will take a very long time. " This is partly because of the risk that viewers find virtual humans scary. Edwards cites widespread backlash to the digital recreation of Carrie Fisher as a young Princess Leia in Rogue One, a trick later repeated in the recent Star Wars: The Rise of Skywalker, which was filmed after Fisher's death in 2016. "People didn't like it," she says. "They discovered the uncanny valley (诡异谷)."

随着数字化重现名人和完全制造屏幕身份变得更容易，这种技术会让演员失业吗？爱德华兹说：“我认为演员们对此感到担忧。但我认为这需要很长时间。”这部分是因为观众觉得虚拟人类可怕的风险。爱德华兹引用了对《侠盗一号》中卡莉·费舍尔作为年轻莱娅公主的数字化重现的广泛抵制，这一技巧后来在最近的《星球大战：天行者崛起》中重复，该片在费舍尔2016年去世后拍摄。她说：“人们不喜欢它。他们发现了诡异谷。”

J) This refers to the idea that when objects trying to resemble humans aren't quite perfect, they can make viewers feel uneasy because they fall somewhere between obviously non-human and fully human. "That's always a danger when you're doing anything human or human-like," says Webber. "There're a thousand things that could go wrong with a computer-generated facial performance, and any one of those could make it fall into the uncanny valley," he says, "Your brain just knows there's something wrong." The problem often arises around the eyes or mouth, says Webber. "They're the areas that you look at when you're talking to someone."

这指的是当试图模仿人类的物体不够完美时，会让观众感到不安，因为它们介于明显非人类和完全人类之间。韦伯说：“当你在做任何人类或类人的事情时，这总是一种危险。”“计算机生成的面部表演可能出错的地方有一千个，其中任何一个都可能使其落入诡异谷，”他说，“你的大脑只是知道有些不对劲。”韦伯说，问题通常出现在眼睛或嘴巴周围。“这些是你与人交谈时注视的区域。”

K) An unfamiliar digital human that has been created through CGI will also face the same challenge as an unknown actor: they don't have the appeal of an established name. "You have to spend substantial capital in creating awareness around their likeness and making sure people are familiar with who they are," says Cloyd. This is now starting to happen. "The way you pre-sell a movie in a foreign market is based on relevant talent," he says. "I think we're a long way away from having virtual beings that have the ability to pre-sell content."

一个通过CGI创造的陌生数字人类也将面临与未知演员相同的挑战：他们没有知名品牌吸引力。克洛伊德说：“你必须投入大量资本来创造关于他们肖像的认知，并确保人们熟悉他们是谁。”这现在正在发生。他说：“你在外国市场预售电影的方式是基于相关人才。我认为我们离拥有能够预售内容的虚拟存在还有很长的路要走。”

L) Webber expects that we will see more digital humans on screen. "It's happening because it can happen," he says. Referring to a line from JurassicPark (侏罗纪公园), he adds: "People are too busy thinking about what they can do to think about whether they should do it."

韦伯预计我们会在屏幕上看到更多数字人类。他说：“这正在发生，因为它能发生。”引用《侏罗纪公园》中的一句台词，他补充道：“人们太忙于思考他们能做什么，而没有思考他们是否应该这样做。”