尽管音乐电影《爱乐之城》在2月26日包揽了奥斯卡的6项大奖，但奥斯卡最佳影片的大奖却在最后一刻花落别家。该奖项的颁奖嘉宾在台上拿错了信封，这一失误随后被更正，最佳影片的大奖实际上花落电影《月光男孩》(2016)。
If La La Land had won, it would have been the first winner of the award since Million Dollar Baby (2004) to focus on telling a woman’s story.
如果《爱乐之城》获得了最佳影片，那它将会是自电影《百万美元宝贝》(2004) 后，首部获得该奖项的女性题材电影。
While people may wonder how long the stretch (一段时间) will be until a similar film really does win the award, it’s a good symbol of where women stand in movies right now.
人们想知道，要在多长时间以后才会有一部类似的电影赢得这一奖项，但这也很好地体现了当下女性在电影中的地位。
Lately, movies focusing on women have been overlooked in the best picture category, despite their actresses picking up awards on their own.
近来，关注女性的电影一直被最佳影片奖项所忽略，尽管这些电影的女演员们都各自获奖。
And none of this year’s winning movies were directed by a woman.
而在今年的获奖影片当中，没有一部是由女性执导的。
“It’s the latent (潜在的) sexism (性别歧视) that’s the biggest problem,” says Angie Fielder, a producer on the Oscar-nominated (提名) drama Lion (2016). “It’s there. It’s under the skin of everything.”
“潜在的性别歧视就是最大的问题，”奥斯卡提名电影《雄狮》的制片人安吉•菲尔德表示。“它就在那儿，在一切事物的表象之下。”
According to recent research by San Diego State’s Center for the Study of Women in Television & Film, women hold around 17 percent of “off-screen” jobs, which include powerful positions like screenwriter, director and executive producer, all of whom have the power to shape a film’s story.
据圣地亚哥州立大学“影视业女性研究中心”近期发布的一份研究报告显示，女性承担了17的“幕后”工作，如编剧、导演以及执行制片人等重要职位，她们都具有塑造电影故事的力量。
Yet Fielder and producers of the year’s other best-picture Oscar nominees (被提名者) hope that change is not just on the horizon but already here. In the past year, Walt Disney Studios hired two women to direct movies with budgets over $100 million (688 million yuan). And five of the nine movies nominated for the Best Picture Oscar this year had female producers.
然而，菲尔德和今年其他奥斯卡最佳影片提名电影的制片人都希望，改变不是近在眼前，而且已有成效。去年，华特迪士尼工作室用了超过1亿美元（约合人民币6.88亿元）的预算，聘请了两名女性执导电影。今年奥斯卡最佳影片的9部提名电影当中，有五部电影的制片人为女性。
The producers say that these choices are a step in the right direction.
制片人们表示，这些选择是在正确方向上向前迈出的一步。
“It’s a conscious (有意的) decision to really question each hire that you make and consciously try to bring people in that don’t look like you,” says Moonlight producer Adele Romanski. “That’s how you start to have a ripple (涟漪) effect.”
“有意识地质疑你做出的每一项聘用决定，有意识地将与你不同的人带进来，”《月光男孩》制片人阿黛尔•罗曼斯基说道。“这便是连锁反应的起点。”
Beyond this, it seems that the mentality of studio bosses that ignores women or limits their choice of projects may be beginning to change. The bias (偏见) against women directing certain genre (类型) movies – horror (恐怖片), thriller, action and science fiction – has been a long-standing problem in Hollywood.
除此之外，工作室的负责人们忽视女性或是限制她们选择项目，此类心态似乎也开始发生转变。对于在女性执导恐怖片、惊悚片、动作片以及科幻片等特定类型电影上的偏见，是好莱坞长期存在的问题。
Ava DuVernay, director of A Wrinkle in Time (2018), an adaptation of a classic fantasy novel, knows it better than anyone else. “Nobody who looks like me has ever made a movie like this before,” DuVernay says. “And because I am black and because I am a woman, I’m going to bring a different perspective (观点) – because I’m an artist and I’m doing what artists do. I’m bringing myself.”
电影《时间的皱纹》(2018) 改编自经典奇幻小说，而导演艾娃•杜威内则比任何人都更清楚上述偏见。“没有一个像我这样的人拍过这种类型的电影，”杜威内说道。“因为我是黑人，因为我是女性，所以我要提出一个不同的观点 —— 因为我是名艺术家，我在做艺术家们所做的事情。我在展现我自己。”
