英语翻译Back on the big screen the medium faced a different set

英语翻译
Back on the big screen the medium faced a different set of problems.Since the advent of television people were no longer spending all day at the movies,and short subjects were gradually dropped from the billings.While animation never completely disappeared from theaters,by the 1960s most studios had closed down; the ones that didn't suffered from severe declines in quality.Only Disney retained it's level of excellence,but Disney had ceased full-time production of short subjects by the mid-50s,earlier than anyone else.While there was the occasional Non-Disney animated feature,no other studio was producing them on a regular basis.By the 1980s no studio was producing shorts full-time,and even the Disney movies had lost their appeal.
The new generation of Disney artists breathed life back into animation with films like "Who Framed Roger Rabbit?" (1988) and "The Little Mermaid" (1989).These well-crafted cartoons were celebrations of animation's glory days,and the public proved just as nostalgic as the artists themselves.The new Disney crew proved that the studio system was still capable of turning out great art.In fact,the major flaw of the studio system,lack of artist recognition,dissipated.Gone were the producer-moguls of old,and with no Walt Disney public attention finally shifted to the artists themselves.While not exactly household names,directors John Musker and Ron Clements and animators like Glen Keane and Andreas Deja certainly received more press than Disney vets like Milt Kahl or Wolfgang Reitherman did in their heyday.
It was inevitable,in spite of Winsor McCay's warnings,that animation would become a "trade" in the form of the studio system.The complexities of bringing moving drawings to life on the screen are too time-consuming and too expensive for it to have developed otherwise.Fortunately,through the years there have been many individuals working in the field who have been careful not to let business logistics overwhelm the artistic potential of the medium.The collective nature of the studio may prevent the artists from receiving the amount of praise an artist working solo garners,but the art attained is no less great.As long as there are creative men and women behind the drawing desk,the animated cartoon will continue to be the best of both worlds:a trade and an art.
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Back on the big screen the medium faced a different set of problems.Since the advent of television people were no longer spending all day at the movies,and short subjects were gradually dropped from the billings.While animation never completely disappeared from theaters,by the 1960s most studios had closed down; the ones that didn't suffered from severe declines in quality.Only Disney retained it's level of excellence,but Disney had ceased full-time production of short subjects by the mid-50s,earlier than anyone else.While there was the occasional Non-Disney animated feature,no other studio was producing them on a regular basis.By the 1980s no studio was producing shorts full-time,and even the Disney movies had lost their appeal.
借助于大屏幕,制作手法面临过一系列的不同难题.自从电视问世以来,人们就不再整天把时间花费在电影院,与正片同场放映的短片逐步从促销列表中退出.就在动画片绝不会彻底从电影院消失的时候,多数摄影棚,即那些在制作质量上并没有遭受严重下滑的企业,到二十世纪六十年代为止已经停产.只有迪斯尼还保持着自己的上乘水准,但是迪斯尼截止到五十年代中期已经早于任何一家公司停止了全天候的电影短片制作.也曾有过偶尔出现的非迪斯尼卡通形象,与此同时,再没有其他摄影棚把卡通短片作为常规进行生产.到二十世纪八十年代为止,任何一家摄影棚都不专门生产短片,甚至迪斯尼电影也已经引不起人们的兴趣.
The new generation of Disney artists breathed life back into animation with films like "Who Framed Roger Rabbit?" (1988) and "The Little Mermaid" (1989).These well-crafted cartoons were celebrations of animation's glory days,and the public proved just as nostalgic as the artists themselves.The new Disney crew proved that the studio system was still capable of turning out great art.In fact,the major flaw of the studio system,lack of artist recognition,dissipated.Gone were the producer-moguls of old,and with no Walt Disney public attention finally shifted to the artists themselves.While not exactly household names,directors John Musker and Ron Clements and animators like Glen Keane and Andreas Deja certainly received more press than Disney vets like Milt Kahl or Wolfgang Reitherman did in their heyday.
新一代的迪斯尼艺术家给以像《谁陷害了兔子罗杰?》（1988）和《小美人鱼》（1989） 那样的动画片富于活力.这些构思精良的卡通曾是动画光荣时代的庆典,公众原来正像画家本人一样是怀旧的.新迪斯尼团队证明摄影棚体制仍然能够生产出伟大的艺术.事实上,在缺乏艺术家认同的情况下,摄影棚体制的主要缺憾是沉溺于无节制的追求.老一代的制作显要人物已经作古,他们没有受到最终被艺术家自己接替的沃尔特•迪斯尼公众的注意.虽然导演约翰•马斯克和伦•克莱门特与漫画家像格林•凯和安德里亚•德加等人不是完全的家喻户晓,他们的确比迪斯尼老兵们像米尔特•卡尔或沃尔夫冈•里瑟门等人曾经在他们鼎盛时期做的那样得到更多的新闻报道.
It was inevitable,in spite of Winsor McCay's warnings,that animation would become a "trade" in the form of the studio system.The complexities of bringing moving drawings to life on the screen are too time-consuming and too expensive for it to have developed otherwise.Fortunately,through the years there have been many individuals working in the field who have been careful not to let business logistics overwhelm the artistic potential of the medium.The collective nature of the studio may prevent the artists from receiving the amount of praise an artist working solo garners,but the art attained is no less great.As long as there are creative men and women behind the drawing desk,the animated cartoon will continue to be the best of both worlds:a trade and an art.
尽管有温瑟•麦克凯的告诫,动画片会在摄影棚体制下变成“商业”是不可避免的.让银幕上移动的图画变得活灵活现的合成耗时太多而且费用昂贵,以至于动画不可能以别的方式发展.幸运的是迄今为止多年来在全体制作人员中已经有了许多一个个的作品,他们一直小心谨慎不让经营逻辑淹没制作手法的艺术潜力.在艺术家精心制作一幅幅构想时,摄影棚的合成特点会妨碍艺术家得到应有的称赞,但是他们达到的艺术仍然是伟大的.只要在画桌后坐着具有创造力的男女画师,活灵活现的卡通就会在商业社会和艺术殿堂继续取得双赢.